This giveaway has ended and the winner is Claire from Columbus, Ohio.

Normally our limited edition prints are only signed by the photographer (Dane Shitagi) but this special print that we are giving away is also signed by the ballerina in the image, Violeta Angelova. This print is our standard large size 16×20 inch print and is also the 9th print produced in the edition of 20.

The pointe shoes that will be part of the prize for this current giveaway are pictured below. These shoes have been worn and used by Violeta Angelova. Each shoe is also autographed.

This image was created in front of the Manhattan Bridge in the Spring of 2009. To learn more about Violeta Angelova check out her biography on our new website.

This giveaway has ended and the winner is Claire from Columbus, Ohio.

We will be randomly selecting a winner at 12noon (eastern standard time) on December 11th from current subscribers to the Ballerina Project website. If you don’t win this print and pointe shoes there will be more reoccurring giveaways in the future.

To subscribe: http://ballerinaproject.com/

By subscribing to the new Ballerina Project website there are many other benefits on top of being entered to this and future print giveaways. For more information on subscribing to our new Ballerina Project website: http://ballerinaproject.com/2012/11/subscribe-to-the-new-ballerina-project-website-2/

For information on purchasing a Ballerina Project limited edition print: http://ballerinaproject.com/2012/11/ballerina-project-limited-edition-prints/

This print giveaway has ended and the winner is Jessica from Atlanta, Georgia. If you did not win this print giveaway stayed for another one shortly.

Help support the Ballerina Project and also be entered to win a special autographed print & pointe shoes by subscribing to our new website. To subscribe: http://ballerinaproject.com/

Normally our limited edition prints are only signed by the photographer (Dane Shitagi) but this special print that we are giving away is also signed by the ballerina in the image, Zarina Stahnke. This print is our standard large size 16×20 inch print and is also the 1st print produced in the edition of 20.

This image was created at the Venus Pools in Hana, Maui. To learn more about Zarina check out her biography on our new website.

We will be randomly selecting a winner at 12noon (eastern standard time) on December 4th from current subscribers to the Ballerina Project website. If you don’t win this print there will be more reoccuring giveaways in the future.

To subscribe: http://ballerinaproject.com/

By subscribing to the new Ballerina Project website there are many other benefits on top of being entered to this and future print giveaways. For more information on subscribing to our new Ballerina Project website: http://ballerinaproject.com/2012/11/subscribe-to-the-new-ballerina-project-website-2/

For information on purchasing a Ballerina Project limited edition print: http://ballerinaproject.com/2012/11/ballerina-project-limited-edition-prints/

To subscribe: http://ballerinaproject.com/

Once you are subscriber to the Ballerina Project you may select the print you are interested in purchasing by just browsing our large collection of images. By clicking on any thumbnail image you will be directed to a larger and more detailed view of the photograph. On the bottom of each image will be a “buy” button that will direct you to a window with the option to purchase a print. From that point it will be like most virtual shipping cart experiences. Just remember to use the $9.95 coupon code you received via your welcome email when checking out your purchase.

If you have enjoyed the images of the Ballerina Project please consider purchasing one of our limited edition prints. A portion of each print sale will go directly to the ballerina in each respective image. Your purchase will not only help the continuation of the project but will also help the ballerinas involved.

The internet is a wonderful way to view the images of the Ballerina Project but it still pales in comparison to fidelity and detail of one of our limited edition prints. On top of the visual aspects each print is crafted on a archival and luxurious museum quality rag paper. With proper care each print will resist fading and will retain its fidelity for many generations to come.

Ballerina Project prints are also limited in production. Only 30 reproductions are issued per image for an 11×14 inch print and only 20 reproductions are issued for a 16×20 inch print. All Ballerina Project prints are both signed by the artist and numbered so you will know where your prints stands in that particular image’s edition.

Ballerina Project limited edition prints are also meticulously packed and have been safely delivered to all corners of the world. All 11×14 and 16×20 inch  prints are shipped flat to ensure they will arrive to you in perfect condition. All packages within the continental USA are shipped with USPS Priority Mail. International packages are shipped with USPS Express mail.  All international shipments maybe subject to foreign custom duty fees upon entering your country. Please be aware of your countries custom duty practices before placing your print order. Customers are responsible if any custom duty fees are levied upon receipt of your shipment.

Prints larger than are 16×20 inch print size are also available upon special request. Please inquire by emailing: purchase@ballerinaproject.com

11×14 inch prints are $80 + shipping cost

16×20 inch prints are $230.00 + shipping cost

Purchase 3 or more 11×14 inch prints – $72 per print + shipping cost

Purchase 2 or more 16×20 inch print – $215  per print + shipping cost

We use Paypal for the majority of our transactions. Payment with Paypal is easy and secure.

For more information on purchasing a Ballerina Project limited print email: purchase@ballerinaproject.com

Specifications for 11 x 14 inch prints:

• Image size: 9 x 9 inch (22.86 x 22.86 cm) or 8 x 12 inch (20.32 x 30.48 cm)
• Sheet size: approximately 11 x 14 inch (27.94 x 35.56 cm)
• Limited to 30 reproductions per image
• Gallery quality rag paper
• Hand numbered and signed

Specifications for 16 x 20 inch prints:

• Image size: 14 x 14 inch (35.56 x 35.56 cm) or 12 x 18 inch (30.48 x 45.72 cm)
• Sheet size: 16 x 20 inch (40.64 x 50.8 cm)
• Limited to 20 reproductions per image
• Gallery quality rag paper
• Hand numbered and signed

To subscribe: http://ballerinaproject.com/

For more information on purchasing a Ballerina Project limited print email: purchase@ballerinaproject.com

This giveaway has ended…. The winner is Rebecca from Manhasset, NY. Stay tuned for another print giveaway in the coming week.

To subscribe: http://ballerinaproject.com/

Normally our limited edition prints are only signed by the photographer (Dane Shitagi) but this special print that we are giving away is also signed by the ballerina in the image, Cassie Trenary. This print is our standard large size 16×20 inch print and is also the first print produced in the edition of 20.

This image was created in the north west part of Central Park in the Fall of 2011. To learn more about Cassie Trenary check out her biography on our new website.

We will be randomly selecting a winner at 11am est on November 20th from current subscribers. To subscribe: http://ballerinaproject.com/

For more information on subscribing to our new Ballerina Project website: http://ballerinaproject.com/2012/11/subscribe-to-the-new-ballerina-project-website-2/

For information on purchasing a Ballerina Project limited edition print: http://ballerinaproject.com/2012/11/new-information-on-purchasing-ballerina-project-print-110212/

Follow this link to subscribe: http://ballerinaproject.com/

You can also purchase a Gift Subscription to the new Ballerina Project website for a family member or friend: http://ballerinaproject.com/store/products/gift-subscription/

All subscribers to the Ballerina Project website are automatically entered into our recurring limited edition print giveaway. Here are details on our current print giveaway: http://www.facebook.com/notes/ballerina-project/win-a-special-autographed-ballerina-project-print-autographed-pointe-shoes-3/10151521298778243

With the introduction of the new Ballerina Project subscription website there will be several changes in our direction and practices. The new subscription website will most importantly pave the way to a sustainable future while creating the opportunity of taking the project to greater heights. We hope to generate new resources that will allow the project to venture to more places around the world and also enhance the ability to create more memorable content.

The new Ballerina Project website will be our main hub for the way we share our content. The new website will have a library of over 800 images and will be continued to be updated many times a week. The new website will also have several features that will make it easier for viewers to sort through our large collection of images. Subscribers can sort photographs by either the ballerina or the location of where the image was created. To also enhance the discovery of our images most ballerinas who have posed for the project will have a biography posted on this new website.

We will continue our Facebook, Tumblr and Pinterest pages but the future of the Ballerina Project will be built around the new website. No current Ballerina Project images will be removed from our social networking pages but the new website will be the only place to see all of our new work. We will only be posting approximately 50% of our new images posted to Facebook, Tumblr, Pinterest and our blog. However you will not need a subscription to view the Ballerina Project blog. Like our other social networking pages it will be open to the public and free of charge.

The new website will also bring a web shopping cart to conveniently purchase our limited edition prints and future merchandise. Only subscribers to the new website will have access to purchase prints or merchandise. Fortunately with your subscription you will automatically receive a $14.95 merchandise credit via your welcome email to purchase one of our limited edition prints (Merchandise credit cannot be used to purchase another subscription). This means your subscription to the new website will be virtually free if you are planning on purchasing one of our limited edition prints. Just remember to use your merchandise coupon code at checkout. Subscribers will also have access to exclusive to featured prints that will be heavily discounted from our regular prices.

Follow this link to subscribe: http://ballerinaproject.com/

To subscribe: http://ballerinaproject.com/

Once you are subscriber to the Ballerina Project you may select the print you are interested in purchasing by just browsing our large collection of images. By clicking on any thumbnail image you will be directed to a larger and more detailed view of the photograph. On the bottom of each image will be a “buy” button that will direct you to a window with the option to purchase a print. From that point it will be like most virtual shipping cart experiences. Just remember to use the $14.95 coupon code you received via your welcome email when checking out your purchase.

If you have enjoyed the images of the Ballerina Project please consider purchasing one of our limited edition prints. A portion of each print sale will go directly to the ballerina in each respective image. Your purchase will not only help the continuation of the project but will also help the ballerinas involved.

The internet is a wonderful way to view the images of the Ballerina Project but it still pales in comparison to fidelity and detail of one of our limited edition prints. On top of the visual aspects each print is crafted on a archival and luxurious museum quality rag paper. With proper care each print will resist fading and will retain its fidelity for many generations to come.

Ballerina Project prints are also limited in production. Only 30 reproductions are issued per image for an 11×14 inch print and only 20 reproductions are issued for a 16×20 inch print. All Ballerina Project prints are both signed by the artist and numbered so you will know where your prints stands in that particular image’s edition.

Ballerina Project limited edition prints are also meticulously packed and have been safely delivered to all corners of the world. All 11×14 and 16×20 inch  prints are shipped flat to ensure they will arrive to you in perfect condition. All packages within the continental USA are shipped with USPS Priority Mail. International packages are shipped with USPS Express mail.  All international shipments maybe subject to foreign custom duty fees upon entering your country. Please be aware of your countries custom duty practices before placing your print order. Customers are responsible if any custom duty fees are levied upon receipt of your shipment.

Prints larger than are 16×20 inch print size are also available upon special request. Please inquire by emailing: purchase@ballerinaproject.com

11×14 inch prints are $80 + $14.00 (approximate shipping cost) for shipping within the continental USA.

16×20 inch prints are $230.00 + $24.00 (approximate shipping cost) for shipping within the continental USA.

We use Paypal for the majority of our transactions. Payment with Paypal is easy and secure.

For more information on purchasing a Ballerina Project limited print email: purchase@ballerinaproject.com

Specifications for 11 x 14 inch prints:

• Image size: 9 x 9 inch (22.86 x 22.86 cm) or 8 x 12 inch (20.32 x 30.48 cm)
• Sheet size: approximately 11 x 14 inch (27.94 x 35.56 cm)
• Limited to 30 reproductions per image
• Gallery quality rag paper
• Hand numbered and signed

Specifications for 16 x 20 inch prints:

• Image size: 14 x 14 inch (35.56 x 35.56 cm) or 12 x 18 inch (30.48 x 45.72 cm)
• Sheet size: 16 x 20 inch (40.64 x 50.8 cm)
• Limited to 20 reproductions per image
• Gallery quality rag paper
• Hand numbered and signed

To subscribe: http://ballerinaproject.com/

For more information on purchasing a Ballerina Project limited print email: purchase@ballerinaproject.com

New York can be like a summer intensive program all year round. You can have a lot of one thing and a lot of everything. You name it, they’ve probably got it. In fact, I’m thinking of starting a doughnut eating class for professionals. Just kidding!

As a dancer, to have that availability and access to various types of training is fantastic. But sometimes, without direction, students and young professionals can get lost in the sea of options, lose sight of what and needs to improve, and waste valuable time, not to mention money.  The teachers are splitting their thought in a hundred directions (some of the classes are quite crowded), maybe you can’t take the class often enough to receive more detailed attention, maybe you are visiting New York in the summer, perhaps you are going about finishing or polishing your training by way of open classes. Or you’re already past that and just want to keep shape. In this article I’ll try to help out and give some tips on navigating the whole thing, what to look for and hopefully getting the most for your money.

1.Know your background. You should know what style of training you’ve had thus far. If you are not sure, talk to your previous coaches, read their biographies; that should at least give you a sense. This has to do with my first suggestion of going to instructors who teach something different from what you’re used to. The nature of experiencing a different approach, phrasing, or philosophy every teacher has is akin to working with a new ballet master or choreographer, and one of the best things you can do when preparing yourself for dancing various types of ballets.

2.In ballet, we always improve. So when you go to a new class, do so with an open mind and embrace everything you can learn and add to the arsenal of your dance vocabulary. Don’t just follow the order of movements, pay attention to details: the musicality of a combination, the amount of attack a teacher might expect in a step, the corrections they give mid-way…

3.Don’t forget what you already know. Just because this teacher does not stress the use of port de bras as much as your old one used to doesn’t mean you should forget it. Keep all that, anything it might be, and add the new layers. Try to identify points of similarities and points of differences. If a movement is taught differently you cannot disregard. Only directors can afford such attitude. You can’t. Master it both ways.

4.Another thing I find very beneficial is going a level up, if there is one, or a level down, of your own (those going down – less often). For younger people the increased challenge, excitement of performing the fancier elements, and often, being in the presence of an admired dancer are but priceless in the development into a professional. For pros and older students going a level down provides an excellent space for re-checking those basics, taking more time with execution, or taking it easy after an injury or a break.

5.Don’t forget to attend your rarer, but all-important class of jazz, hip-hop or whatever. Not only is cross training good for your muscles, it’s good for your coordination, can do no harm to your ballet form (if there is one) and can open up room for movement previously unexplored with the ingrained repetition of ballet.

These are just some of the principles I use as a dancer and teacher.

Steps on Broadway, Peridance Capezio Center, Ballet Arts at City Center, Broadway Dance Center, and few other studios offer open ballet classes. If you’re new to the scene – research teachers, as well as locations, schedules, and class prices. That way you’ll know you’ve made an informed decision.

A single class costs eighteen dollars at most places. Altogether a high price for the rather not affluent community of students and performing artists. And competitors keep each other in sight, so prices are generally comparative. But there are a few things you can do to reduce the cost. Studios have multiple-class discounts, a professional or union discount, and sometimes – special programs that can help lower the bill. First and foremost your individual training needs have to be clear in your mind, and then work back to the class packages that are available. How many classes a day or a week you must take, will you be out of town or are you in town for a month only, et cetera.  Next, request a thorough breakdown of the class packages existing and see what fits your needs. The catch is the expiration date. The twenty class series at Steps for example (it’s their cheapest per class rate at $15.5) is good for three months, after which you have thirty days and a $2.50 extension fee to claim any class left undanced, ahem, unused in your account. Broadway Dance Center has a ten class card that breaks it down to $15 per class, good for a month opposite Peridance Capezio’s ten class offer that comes down to $16 a class, but good for two months from the date of purchase. The best deal is the ten class card at Ballet Arts in City Center that offers a three month expiration date at $14 per class. Weigh out your options carefully.  For professionals or Union members there is a brake on all classes that amounts to a dollar per class. Not much if you take sporadically, but if you go a few dozen times it will add up quick. Make sure you ask for that discount if you are a professional, because they are not going to guess you by face and apply it. Lastly, I’ll mention the Work/Study program, which is one of few available at Steps. It involves working there in exchange for unlimited, discounted classes and some additional perks. I’m not acquainted with its details, so research further if that sounds like something that can be of use to you.

Regardless of where you choose to attend, inquire with their management about ways to cut your cost. Be proactive, you might be eligible for something I’ve never heard of!

The discipline in open classes varies from teacher to teacher and it is pretty easy to judge the atmosphere. So whether you need a strict environment, or like more room to do your thing, after a couple of go’s you’ll know if a certain class is the former or the latter. Some teachers give classes at few locations, but don’t assume it’s the same level – always check. Also, a general rule of thumb: classes earlier in the day are more likely to be packed than those starting later. Your tens, ten thirty’s and elevens are convenient for a lot of people for obvious reasons.

Steps on Broadway is the most prominent place for ballet classes despite (or maybe because of) the poles in the middle of the studios. I will only go over some of the teachers there. It would require a larger volume than this article to cover everyone, everywhere. Please know I take open classes as needed, mostly around my rehearsals and travels. This is a brief review in alphabetical order.

Popular among ladies in Nancy Bielsky, whose varied class keeps you dancing without killing you. Wilhelm Burmann is one of the central teachers at Steps. Certainly his class is one you should attend. Elena Kunikova is a bright lady with a distinct class, wondrous when it comes to upper body use and balance, to name a few. David Howard is a name synonymous with teaching ballet and he gives classes in couple of levels there. Alex Tressor gives a relaxed-mood class with non-habitual combinations of elements in center work, and a good chunk of class devoted to allegro. Also, there are some wonderful teachers who teach only on the weekends, check into that as well.

Some broad info about the classes elsewhere: at Manhattan Movement and Arts Center there are no open classes in the summer, but they will resume in September, majority taught by Deborah Wingert; Broadway Dance Center’s highest level class is at 1.30 pm, given mainly by Jack Hertzog; at Ballet Arts at City Center the instructors in the intermediate and advanced intermediate levels, who teach most days are Ludmila Raianova, Kenny Larson, and Simon Kazantzev; at Alvin Ailey open ballet classes are largely geared toward beginners, but three nights a week there is an intermediate ballet class, taught by Kat Wildish; Peridance Capezio Center has more choices with multiple instructors with varied backgrounds giving multiple classes, the advanced level being at 10 o’clock, lower levels starting later.

In conclusion, I’ll quote Anne Woolliams, former directress at the Vienna State Opera Ballet: “Some exercises must be slow and some fast, and it differs according to the day, as well as to the students.”

I enjoy tradition as well as breaking routine, I like wide-ranging tempi and wide-ranging styles, and the good thing about New York is that there are so many premier teachers, there is always something to learn. Even if you can’t attend everyday you can take invaluable lessons with you. So go out there, discover and have fun!

Best of luck

V.

Sale ends on May 21st.

If you are interested in other images that are not in the “Ballerina Project in Hawaii” collection please follow this link: http://ballerinaproject.com/purchase

To place your order please email us at purchase@ballerinaproject.com and include the following information.

- Identify the image or images that you are interested in purchasing. Each image will have a number like this example (3 -17) next to the name and location of the image. Also include the Facebook webpage link to the related image. The information for the image or images you are interested in purchasing should look like this: (3-17) http://www.facebook.com/photo.php?pid=739653&id=22455674948&ref=fbx_album

-  Please specify the size of print you are interested in purchasing. Below is specifications for sizes that are available

- Your shipping address

All prints are beautifully created on the finest gallery quality rag paper, numbered and signed by the artist Dane Shitagi. Ballerina Project prints are also limited in production. Only 30 prints are issued per image for an 11×14 inch print and only 20 prints are issued for a 16×20 inch print. All Ballerina Project prints are both signed by the artist and numbered so you will know where your prints stands in that image’s edition. Ballerina Project prints are also meticulously packed and have been safely delivered to all corners of the world.

International shipping ranges between $40-$70 and will be shipped with USPS Express Mail service.

We use Paypal for all Ballerina Project transactions. Paypal is a secure and easy service for internet payments and transactions.

Specifications for 11 x 14 inch prints.:

Image size: 8 x 12 inch (20.32 x 30.48 cm)

Sheet size: approximate 11 x 14 inch (27.94 x 35.56 cm)

Limited to 30 reproductions per image

Gallery quality rag paper

Specifications for 16 x 20 inch prints:

Image size: 12 x 18 inch (30.48 x 45.72 cm)

Sheet size: 16 x 20 inch (40.64 x 50.8 cm)

Limited to 20 reproductions per image

Gallery quality rag paper

Hand numbered and signed

Arrival

After a long journey, a familiar face greeted me at the Honolulu airport with a lei. A welcoming and festive gesture, made of authentic orchids. Dane and I then proceeded to pick up a sizzling white mustang which we ended up naming “Marcia.” I must say it was a bit difficult to come up with a name equally as witty and fitting as the other dancer’s previous vehicles, but it suited her. Buzzing around with the top down and taking in the gorgeous landscape was sort of like a cherry on top. Since Dane is from Hawaii, his touring skills were also an added bonus. We had a casual meal, caught up a bit, and called it an early night. I was actually very excited and anxious for our 5 am wake-up call for the next morning, I recall falling asleep with nothing on my mind but how it was going to feel to pose at the top of a giant crater.

Day 1

The climb to the top of Diamond Head crater was not a physically easy task. It was a bit of a hike, accompanied by almost 100 steps. Every inch of the trek was well worth the effort. The view at the top was unearthly. As more and more tourists filled up the lookout post, the sun rose. It was a perfect view of Honolulu and the ocean. Per usual, we needed to go against the grain to get our shots. Dane assisted me and between the two of us we managed to transport all of his camera gear, my dance backpack, and clothing from the designated look- out post to another landing. (This is where I encourage any potential vacationers to avoid some of the crater-hopping and other measures we may have to capture the images.)  It was well worth the risk- an abandoned artillery fort formed a breathtaking setting. It also had a convenient under portion where I could tactfully change into a lovely, light dress. The contrast of the cement and rock against this garment concocted a neat vibe. It was my first shoot in a little under a year, and my soul needed it. There is a power in posing for something you are passionate about. I usually try and empty my mind. To come into the work and be moved by the setting is my favorite thing about working with Dane. He enjoys using dancer’s natural instincts. A somewhat comical moment was my dash at the sight of a small lizard in a doorway of the structure. I must have leapt and yelled like a crazy lady, at least I gave Dane a good chuckle. By the end of the trip, these natural “interferences” ended up adding to the experience but it had caught me off guard this early morning. The next location was the Manoa Falls. This is the birthplace of ballerina project and the sight I was most anticipating. I have seen Dane’s original image from over ten years ago, and it continues to imprint my spirit when I view photographs. It was a nice hike, and the falls felt amazing. A wimp about actually getting in, I was rewarded with refreshing shaved ice.

The falls are magical. There is a natural rhythm about them that inspires movement and interesting lines. I truly felt like I was dancing, as well as a natural element…a part of the fall. A few shots occurred on our hike back down as well such as using a bright green dress against massive tree stumps. A fun taco shop provided a tasty lunch before we gazed over the Pauli lookout. It is a sacred sight, and for this we maintained a level of respect while shooting here. Again we went to a more desolate portion of this sight to avoid tourists and get the best view. The view was undeniably amazing. To breathe in the landscape of Hawaii was to recharge every cell in my body. I felt elevated, and something inside me began to take on a new perspective entirely. A long day, full of incredible sights, sounds, people, and places ended with a fun dinner. We went to a tasty restaurant, the “Side Street Inn” – “ The place where chefs like to eat.” I could understand why. I tried some traditional Hawaiian dishes and met some of Dane’s wonderfully kind, intelligent, and generous friends.

Day 2

Waikiki beach was our first stop the following day. I wore a colorful, flowing dress and even put my lei on for a few shots. That sight was accompanied by a Venti Starbucks iced coffee. Starbucks and the ballerina project have a very special affiliation for me. The Astor Place Starbucks in downtown Manhattan is where Dane and I first met to discuss his work and my potential for working on it-the start of a successful and creative partnership. Although other stigmas are often false, it is a well-known characteristic of many dancers that we consume a good amount of coffee. Dane is familiar with this craving and always does an excellent job at keeping his dancers caffeinated. We also picked up a variety of native snacks for the day. Our next journey was to the island of Kauai. This rustic, lush island is nothing short of a green paradise. Less tourists, more wide spaces and fields, and chock full of perfect shooting locations. The entire time I felt I had leaped into the film “Jurassic Park.” Our housing was a scenic and really nice hotel/resort. Although this was not a leisure vacation, each setting was more than comfortable. We navigated to a very neat waterfall off of Highway 56. Dane had recalled this sight, like many others, from his early works. This fall was tucked away and gave a large dose of creative exploration. I fell in love with a small town near this fall. Hanalei is a novelty spot- many authentic shops, restaurants, and specifically a tasty all natural fruit juice/ smoothie bar. We shot some images at the juice hut as well. On the drive back, a beach overflowing with textured black rocks was too hard to pass up. Our last shots of the day ended here and we enjoyed a delicious dinner at the Sheraton that evening.

Day 3

The hotel offered an abundance of breakfast goods and coffee for the morning. We fueled up and headed to one of the most influential natural settings I have come by. The Queen’s Bath is named very appropriately. A massive lava-formed shelf maintains natural swimming pools which invited us to do some of my favorite images in Hawaii. Again a bit tentative to get into the water, I was delighted to find I actually can float above water. Again probably in reward for my brave acts earlier in the day, Dane and I returned to Hanalei and ate delicious fish tacos, got more juices, and picked up some souvenirs. That evening we ate authentic Hawaiian food at a restaurant near the hotel. The area feels very special and less touched than the other areas I experienced in Hawaii. It is the location of sugar industry started in 1835. Maybe this plays a hand in their delicious sweet bread…

Day 4

Feeling a bit sullen about having to depart from the wonderland, in the early morning we headed to the resort beach and watched the sun rise in anticipation of the perfect lighting. Another breakfast kick-off, and we did a bit of exploring before finding a very neat old Russian fort. Fort Elisabeth is a white sand beach at the mouth of the Waimea River. Following that, a drive up the Waimea Canyon was very foggy, but there was a magic about it. One literally feels at the border of earth and heaven when at the top. Although the fog inhibited the view, we still snagged wonderful shots and taped footage as well. I love the live taping because I can continually dance and move through them. All of Dane’s work has an insanely real feel, but this technique gives the emotion and shapes another dimension for the viewer. The Menuhune Ditch and bridge were amongst more treasures discovered on this day. There is a legend about the Menuhune- “ the little people.” My understanding is they are little dwarves that protect the ditch. The small bridge had an intense sway and was very entertaining to shoot on. A black stallion also added to the setting. My heart was overwhelmed by the darling little children playing in the water. As we pulled away, it had started to rain but I was sure to take some video footage of their genuine joyfulness. Our final location in Hawaii was at red dirt falls located on the drive up the Canyon. The vivid color was indescribably mystical. It has stained garments and I will cherish the pointe shoes I wore at this shoot forever. They are still a rich, burnt orange color and I gaze at them with fond memories of this last shoot. I have to say I almost felt like tearing up on this last shoot. I could feel years of hard work, passion, and a creative hunger coming to life. I have a strong sense that Dane and I both felt this way.

Reflection

Looking back, this trip was more than just a journey to a beautiful place to take beautiful images. It pushed me in a spiritual way as well. The chats, walks, good music we listened to on car rides, and sights all fed my soul in one way or another. I will never forget this experience. When I first started being involved in ballerina project several years ago, I could have imagined such a marvelous adventure would take place. To see the images of myself, and other dancers, is to feel the honest beauty of the work itself. Dane has given dance a new, strong voice. On challenging days in the studio, the first mental place I transport my mind to is shooting ballerina project images. Whether in NY or Hawaii, I feel extremely privileged to be behind Dane Shitagi’s lenses and cannot wait to see more growth in the project.

by Kate Ann Behrendt

For this shoot there would be several first. It would be the 1st of the year, it would be the first time Anna and myself worked together and it would also be the first time I would do a short film along side the still images.

Anna was introduced to me from her fellow company member Kate Behrendt that had  shot with me on many occasions for the project. I trusted Kate’s word and she had always spoken very highly of Anna.  Anna was a principle dancer in their company so Kate had always looked up to her. I had no worries that Anna would be great for the project.

As for shooting a short film that was where the majority of my concern was to be focused on. For some time I had believed that motion picture would eventually become the way for the project to branch out. It would pick up where the still images left off and help carry our viewers further. The preparation for the short film started about a month earlier with the creation of the music. I certainly couldn’t afford the usage rights to existing music so I contacted a musician friend Veronica Charnley to create a piece. (Veronica is a uber-talented vocalist and musician that I had met the year before. She is part of a band called Flotilla that recently moved to New York City from Canada. Click here to purchase music of Flotilla on Itunes) The advantage of creating music for this film was that I could work with Veronica on setting its mood and pace perfectly. On several occasions Veronica and myself met at Starbucks and discussed at length different ideas for the music. We talked about topics like making the music danceable and also the different themes and scenarios to base the music upon. One of the reoccurring themes was winter and the changing of seasons. Like most people going through a winter you cannot help but think of the warmth of spring. I guess it was pretty natural that we pondering this in December.  After Veronica threw several songs at me we settle on one called “Winter Repose”.

One of the first things I did when I first met Anna for this shoot was to have her listen to the song that Veronica created. Not only would it inspire and set the stage for the short film but it would also be the inspiration for the still images. Luckily Anna loved the song and quickly started to imagine the mood and steps for the upcoming two days of shooting. We then jumped on a uptown 1 train to 157th Street to go to our first location at Fort Washington Park. On the way to the location we decided to use the subway stop at 157th Street for parts of the both the still and motion segments. I often feel that points along the way make for the best locations rather than just the destination.

The temperature was around 40 degrees Fahrenheit that day so it didn’t take too long before Anna was frozen. The one of the most difficult things to shoot in is in the cold. No matter how determined your subject is their body will quit working once it is too chilled. One of the memorable images of the day was taken while Anna sat frozen on a park bench at Fort Washington Park.

The next morning we had a early start around 6 am. It had rained for most of the night and had just started to let up around the time we started. The first location we went to that morning was the north end of Washington Square Park. Just as the fog started to left we began filming what would become the first scene of the short film. This location is where Fifth Avenue starts along its way up Manhattan.

Luckily for us it was much warmer than the day before and pretty warm for that time of year. It was around 55 degrees so it wasn’t nearly as cold as it appeared in the images. Right after we shot the movie footage we then ventured into the middle of the street to capture another memorable still image for the project. It was the perfect light and also the perfect moment that both Anna and I experienced. (See the lead image of the story.)

After we left Washington Square we walked over to the 6 Train at Astor Place. The subway station at Astor Place has a beautiful curve to the tracks and platform. This would be another beautiful location for us to do both motion and still images. Timed perfectly with the arrival of a 6 train this location would end up being the second scene in the short film. After shooting at the subway station for a bit we jumped onto a uptown train. When the trained emptied near the end of the 6 line we finished off the first shoot of the year for the Ballerina Project.

Being this was the first shoot  that the project did both motion and still images it was a true learning experience. The one thing I did learn was that it would be difficult to do both on the same shoot. I personally feel it takes two different mind sets and time is needed to be dedicated to one or the other. I do plan on creating more short films for the project but I will need to figure out the best way to manage our scheduling and resources to do so.

Ballerina Project – Winter Repose from Ballerina Project on Vimeo.