This year Kansas City Ballet will open their doors for the seventh annual KC Dance Day. This FREE event includes dance classes and local dance performances for all ages—even an open rehearsal by Kansas City Ballet dancers! And every year, around 2,000 eager Kansas Citians are expected over the course of the day.
It’s a big task to pull off this event. All KC Ballet staff are on hand over the course of the day helping to make sure everyone has a great time, but even more help is needed. Each year more than 40 volunteers are required throughout the day to ensure success.
“We simply couldn’t do it without our amazing volunteers,” says Rene Horne, Kansas City Ballet’s Manager of Events and Volunteers. “These people give in a big way. They donate their time to help Kansas City Ballet share the love of dance with our community, many of whom have never been to our building, taken a dance class or seen a performance. The energy in the building on Dance Day is electric.”
Even so, with little more than a week until the big day, there are still volunteer shifts available, especially during peak hours of 11 a.m. to 2 p.m. So, we are reaching out to recruit more amazing volunteers looking to help their community.
Those interested will need to:
Create a volunteer account, by clicking here. It takes less than five minutes.
Once an account is created, visit this page and click on the “Volunteer Registration Center” link under “Join Us” to sign in.
After signing in, click on the “Help Wanted” symbol on August 26 and pick a shift.
For a schedule of classes or events or for more information about KC Dance Day, click here.
Kansas City Ballet prepares to host their 7th annual KC Dance Day event on Saturday, Aug. 26 from 9 a.m. to 6 p.m. at the Todd Bolender Center for Dance & Creativity.
Enjoy FREE dance classes and FREE performances; even an open rehearsal by Kansas City Ballet dancers! Lunch will be served from 11:00 am to 3:00 p.m. by Two Guys and a Grill. You may purchase a $6 meal ticket in the lobby for your choice of a hamburger, veggie burger, hot dog, or chicken breast plus chips and bottled water.
All events take place at the TODD BOLENDER CENTER, 500 W. PERSHING, just west of Union Station. get map
Between 9:00 a.m. and 3:30 p.m. we will offer a complimentary shuttle trolley from the parking at the Union Station Garage to the Bolender Center. There is a charge for parking at Union Station.
Just five short weeks ago, 181 students arrived from all over the country, the region, the city and even a couple from Bulgaria to be part of Kansas City Ballet School’s 2017 Summer Intensive program. Most will leave more skilled and with more friends than when they began. Summer Intensives are like that, and especially in Kansas City.
While they were here they learned from a wide variety of teachers, as well as from each other. They pushed themselves to new heights. They also learned more about Kansas City through a number of excursions including a visit to Worlds of Fun and Oceans of Fun, attending a 2015 World Series Champion Kansas City Royals game, and more.
Today marked the final day of the program when the students were able to demonstrate what they’ve learned for an audience near and dear to their hearts, their families.
“It is hard to believe that our 2017 Summer Intensive at Kansas City Ballet has come to a close! What a lovely group of dancers attended this year, and it was pretty amazing to watch the progress that the students made during these 5 weeks,” said KCB School Director Grace Holmes. “Thank you for sharing the summer with us and I hope to see you all again at KCBS!”
Read more about this group and the guest teachers here.
The Kansas City Ballet Guild hosted its annual Spring Luncheon on May 9 at Indian Hills Country Club. President Mark Sappington thanked the outgoing Guild Board for their hard work and welcomed the new 2017-2018 board. Guests enjoyed beautiful floral arrangements by Craig Sole. For more information about the Guild click here.
The Kansas City Ballet School’s 2017 Junior Summer Intensive that began June 5th wrapped up today with a studio demonstration by the students. Specifically designed with the young dancer in mind, this four-week program offers students ages 9-13 (females who are pre-pointe or beginning pointe students) a rigorous and comprehensive study of ballet technique and exposure to a broad variety of dance styles. All curriculum is presented in a nurturing and positive environment at Kansas City Ballet School’s Johnson County Campus.
Students experience a truly unique program working with members of the Kansas City Ballet’s artistic staff, nationally acclaimed guest teachers as well as KCB School faculty. Former Prima Ballerina with Miami City Ballet, Iliana Lopez, and Michele Gifford from New York City Ballet were guest teachers.
On Sunday, June 25th, the students participated in a demonstration by Kansas City Ballet School as part of The Future Stages Festival at the Kauffman Center.
“It was so fun watching the students express their joy of dance at both demonstrations. It was especially inspiring to witness them performing their repertory pieces this afternoon,” said KCB School Director Grace Holmes.
This was the 5th year of the program and 40 students participated.
Beginning to take dance classes at only 3 years old has paid off for Kansas City Ballet School student, Emma Heithoff. After attending dance schools in Waukee and Des Moines, Iowa, Emma was able to begin training in the Academy’s Daytime Program. This program offers daily classes from 9:30 a.m. – 4:30 p.m. and is for ballet students who are looking for more hours of intensive training as compared to those offered in the afternoon program.
After attending the 2015 and 2016 Summer Intensive programs, Emma was thrilled to return to the Kansas City Ballet. “While I didn’t believe my experience could possibly get better, this past summer provided even more opportunity by allowing me to hear about the Daytime Program,” she said. “I believe this summer program is extremely appealing with its emphasis on strong technique, expression through the upper body, and versatility as a dancer with the plethora of classes offered.” One of Emma’s major influences was her summer teacher, Racheal Nye. “I really enjoy how she brings the idea of how strong technique should always be a priority while teaching in a tough yet extremely motivating way,” she said.
Since joining the Daytime Program with the Kansas City Ballet, Emma has already identified significant benefits. “I have loved the opportunity to have two-hour technique classes followed by one-hour pointe classes and other electives every single day,” she said. “This gives each of us the ability to improve at a faster rate than we were previously with the addition of more hours spent in the studio.”
Throughout the course of a new program, struggles are bound to occur. “I have definitely experienced a number of challenges including some issues with my back and feet while also learning how to manage injuries while dancing for so many hours,” Emma said. “Even with a higher pain tolerance after dancing since I was young, I have learned many different self-care practices in both injury prevention and taking care of myself in order to stay healthy and continue doing what I love.”
“I have also faced the challenges of continuing to fix bad habits while trying not to become frustrated when I do not see immediate progress,” she said. As these endeavors have not been easy for Emma, she has learned they can be rewarding. “Throughout working through these challenges, I feel as if I have developed some valuable skills to help me through both my dancing and events outside of the studio.”
Since joining the Academy’s Daytime Program, Emma has been offered many exciting opportunities. These include performing with the professional company as an Angel in The Nutcracker, as a Courtier and a member of the “Garland Waltz” in The Sleeping Beauty, and a significant role in the Kansas City Youth Ballet’s performance of Giselle. “This past semester, I had the opportunity to perform the Peasant Pas de Deux in Giselle as well as a neoclassical pas in a work choreographed by Dillon Malinski,” she said. “I have never been cast in a performing pas de deux before this year, so this was an extremely fun opportunity to work on my partnering in two completely different pieces of repertoire.”
Stationed on the Mezzanine in the Bolender Center, you’ll find two bronze statues of female dancers that are so lifelike it’s common for them to be mistaken for real dancers. “Dreaming About” and “Unbearable Elevation” are the work of sculptor Rafael Muyor.
Both Muyor sculptures were graciously donated to Kansas City Ballet by Miller and Jeannette Nichols in 1999. Prior to that, they had been displayed at the Nichols’ office on the Country Club Plaza.
Kansas City Ballet is grateful to Mr. and Mrs. Nichols for their ongoing support.
Rafael Muyor, Sculptor
Rafael Muyor was born in Madrid, Spain in 1943. He studied Industrial Design in Madrid, and then traveled to Milan and Paris where he perfected his technique of modeling. His work with bronze creates organic sculptures with volume and movement. Muyor breaks the coldness of the metal, giving his works great warmth and stunning realism.
Muyor has had solo exhibitions in Segovia, Salamanca, Malaga and Madrid, as well as in the Gallery Seiquer. His work has also been found in Gallery Four Seventeen. He has participated in, among others, the First Biennial for Plastic Arts Segovia in 1981; at Arch 1985 and 1989; Art London, Saga 1990, and 1992; Art Miami 1992, and 1996. His most recent works have been shown in the Municipal Center for the Arts – Alcorcón 2001 and at the Galería Leandro Navarro in the fall of 2006.
In August 2011, Kansas City Ballet opened the doors of their first permanent home, the Todd Bolender Center for Dance & Creativity.
The former Union Station Power House, is named for former Artistic Director Emeritus Todd Bolender, who incidentally was born in 1914—the same year this building was built. Bolender, a former dancer and choreographer with George Balanchine’s New York City Ballet, led the company from 1980 to 1995.
For nearly six years, Kansas City Ballet has enjoyed the Bolender Center and its seven studios, including the 180-seat Michael and Ginger Frost Studio Theater. The latter serves as the venue for KC Ballet’s annual New Moves program, as well as Second Company, Kansas City Youth Ballet, Kansas City Ballet School and other community group performance space. It also shares the same specs as the Muriel Kauffman Theatre stage—making it ideal for company rehearsals.
There are still remnants of the building’s past when you look up at the yam colored coal shoots that now serve as light fixtures. Long gone is the 250′ chimney. It was taken down in the 1975 to prevent damage from it eventually falling on its own. Gone also is the tree that used to grace the roof in the 90s. After nearly six years, and a great urban renaissance in Kansas City, it’s hard to imagine KC Ballet’s home anywhere else.
In addition to administrative and rehearsal space for the company, the Bolender Center also houses Kansas City Ballet School’s downtown campus. From academy programs for ages 3-18 including a new daytime program for serious students ages 11-18, to junior studio and adult studio classes, the Bolender Center is ‘Always On’.
For more history about Kansas City Ballet, please click here.
On April 28th, for the first time, Kansas City Ballet’s Second Company headlined their own show at home at the Bolender Center called, appropriately, @ Home. This program was performed again a week later at 1900 Building off of Shawnee Mission Parkway.
In an interview, KC Ballet’s Second Company Manager Anthony Krutzkamp had this to say:
For me, what was great about this show was seeing the growth of the dancers through this season. I couldn’t help but think about how far they have come since KC Dance Day (Aug. 27, 2016)! I believe for others watching the show it would be the diversity of the program. They performed everything from classical to contemporary that night.
How does this experience help these dancers grow? What are you hoping they are getting out of this experience?Putting the Second Company in a position to “carry” an evening by themselves puts them on a platform (and pressure) that the company members experience. They are coached in principal/soloist roles and have to embody those roles in front of an audience, with lights, and costumes. My hope is that when they do transition to a company they will have this experience to pull from and will have the confidence to do well!
How did you put this program together? What were your reasons for these works in this order?The contemporary part of the show came from all of our work this season with different galleries and museums around town. I set the classical portion to fit our dancers strengths and weaknesses. The order of the program was made with necessity and flow. I needed to make sure 15 dancers were safe for that amount of time dancing while giving the best ebb and flow for the evening.
Anything else you’d like to share about this group and/or this season of work/experiences?
I am amazingly proud of this group. They pulled off some great shows and gained some real fans this season.
What do you look forward to next season?
I am hoping to get out in our community even more! I don’t see the second company slowing down anytime soon!
The 2016-2017 Kansas City Youth Ballet (KCYB) dancers completed their spring performances recently. The program was titled Giselle but included much more:
Giselle choreographed by Jules Perrot & Jean Coralli and staged by Kimberly Cowen and Marcus Oatis
Age of Angels choreographed by David Justin
Part Ways, choreographed by Elaine Kimble-Peaks
Affettuoso, choreographed by Dillon Malinski
“Giselle is a huge part of dance history. The importance of this piece and the value of this experience for these students can not be underestimated,” said KCYB Director and Upper School Principal Kimberly Cowen.
Giselle was first performed in 1841 and it is one of the greatest romantic-era ballets. It’s interesting to see a work so steeped in history be performed on the same program as a brand new contemporary work. Cowen is a firm believer that student dancers develop best when they are challenged by a variety of dance styles and pieces. This program was created to give opportunities to learn from different choreographers while performing classical as well as modern works.
David Justin, Adjunct Professor at University of Missouri–Kansas City Conservatory of Music and Dance and KCBS Men’s Coordinator, set a very mature contemporary work on the students with Age of Angels. The students had to stretch their knowledge of steps beyond what they’d learned in class to achieve his vision.
In Elaine Kimble-Peaks’ Part Ways, the students learned new skills including lifts executed with an all female cast–something not always seen in dance.
“Peak comes from a very modern and contemporary background,” said Cowen. “She worked so well with the kids and they really respected the process. She saw their talents differently than we sometimes do as ballet-focused teachers. This gave the students a chance to rise to a new challenge, and it was easy to see their enjoyment and investment in her piece.”
Affetuoso closed the show. Created and staged on the youth company by Dillon Malinski, current Kansas City Ballet company dancer and teacher for KCBS. Working with a current professional dancer has its perks. He was high-energy and able to show the dancers exactly what he wanted from them.
All in all the program was an inspiring way to end the season!