May 30, 2015

artist profile: ed sheeran

Have you ever listened to Ed Sheeran? Like, really taken a moment to hear what his lyrics say and feel the message he conveys through what boils down to simple notes? If you haven't, you should. It is your duty as an artist or fosterer of artists in the twenty-first century to listen to this man's music for a minute.

If you aren't already impressed, take a peek at his story:

Ed Sheeran was born on February 17, 1991, in Halifax, West Yorkshire, in the United Kingdom. When he was young, he began playing guitar, showing early promise as a musical talent. When he was 11, Sheeran met singer-songwriter Damien Rice backstage at one of Rice’s shows, and the young musician found added inspiration. As the story goes, Rice told Sheeran to write his own music, and Sheeran set out the next day to do just that.


It wasn’t long before Sheeran was recording CDs and selling them, and he soon put together his first official EP, The Orange Room. With that accomplishment and his abiding ambition driving him, at only 14 years of age, Sheeran headed to London for the summer. Thinking he could find gigs on the big city, Sheeran left home with his guitar and a backpack full of clothes, and his musical career took flight.


Once in London, Sheeran got busy recording and playing the local singer-songwriter circuit and quickly released two albums: a self-titled record in 2006 and Want Some? in 2007. He also began opening for more established acts, such as Nizlopi, the Noisettes and Jay Sean, and released another EP, You Need Me, in 2009, a year that found Sheeran playing more than 300 live shows.
It wasn’t until 2010 that Sheeran made the leap to the next level in his career, and it came via online media, a route Sheeran had learned to use with great effectiveness. When a video he posted online got the attention of Example, a rapper, Sheeran was asked to go on the road with him as his opening act. This led to an even larger online fan base and inspiration for many more songs, which ended up filling three new EPs, all in 2010.
When Sheeran headed to the U.S. that year, he found a new fan in Jamie Foxx, who asked Sheeran to appear on his Sirius radio show. Soon after, in January 2011, Sheeran released yet another EP, his last as an independent artist. Without any promotion, the record reached No. 2 on the iTunes chart, and he signed on with Atlantic Records that same month.
With Atlantic, Sheeran released his major debut studio album, +. An instant hit, the album sold more than a million copies in the U.K. in the first six months alone. Sheeran began co-writing songs with bigger artists, such as One Direction and Taylor Swift, and supported Swift on her 2013 arena tour.
On a roll, Sheeran’s next success would come when his song "I See Fire" was featured in movie The Hobbit: The Desolation of Smaug, and in June 2014, his next album, x, appeared, debuting at No. 1 in the U.S. and U.K.
 As for the concert experience, he is undoubtedly one of the most talented musicians of our time. We are surrounded today by the musical styling not of singers and rappers, but of "auto tune." It's rare to find an artists that doesn't rely heavily on technology to shape their talent. He stood on stage in the rain with a guitar, a microphone, and a looper (a device that records a sound you make and will play it back). It sounded like a full band played with the man. I swore there must have been recorded sounds added to his playing and then between songs he addressed the issue, explaining what the looper was and that every part of the songs were created live in front of us.



Right about when the rain rolled through

"It's too cold outside for angels to fly." A beautiful moment during "A Team."
Most of his songs on his recent album "X" have an almost mellow tone. In the concert, everything was cranked up to ten both in terms of volume and energy.

(Personal videos, apologies for the poor quality. Please don't hate me.)


"Kiss Me"

 I remember seeing an interview online with Ed (which unfortunately I cannot find again) where he talked about his song "Don't," admitting that he can be too honest in his songs. "But what's the point?" he asked. He went on to explain that if you're going to write a song about something, the issue doesn't necessarily need to be addressed, but it needs to be written.

I find that to be relevant amongst any artist, even dancers. I'll use Balanchine's Serenade as an example. No story, no explanation, but there were emotions in the choreographer that needed to be materialized. We just use people and motion set to music to express rather than lyrics or the music itself.

All in all, an incredible experience and I would highly recommend seeing his show to anyone that can admire artistry in one of its finest forms.

Thank you for reading! Feel free to leave a comment below to tell me what you though (it makes my day!) or you can contact me and don't forget to 'like' A Dancer's Days on Facebook and follow the Pinterest Board!

May 28, 2015

rainy day confessions

I'm a complete mess most of the time. Internally, anyway. I'm a mess in a way that most people wouldn't notice. I tend to stress over anything in life that could potentially be worth the energy.
life is scary.
Much like the weather of this early-summer's day in Maine, things can change in the blink of an eye.
Sometimes we crave the change when the weather is too hot or dreary; but sometimes we fear it, foreboding against the only inevitable aspect of life:
it keeps going.
I often find myself caught in a chasm between these two realities. Either I beg for my life to progress and want nothing more than to be reassured of the next thing, or desperately cling to the present, realizing part of the inevitability of life is that this moment is fleeting and there will never be one identical to it.

isn't that terrifying?
I think it is, and I'm sure many of you readers would agree (assuming there are readers out there which I truly hope there are).
but it's good.
It's so good. The rush of the new and strange and foreign and terrifying is reassurance that I'm doing something with my life. Life is stagnant enough at a time to be just within comfort but roves enough to be exciting.


so I'm happy.
I don't know what will happen in a year, a month, or even a week, but I'll let go of what I do not know,
and I'll keep going;
I'll soak up every drop of nectar this precious world has to offer me.


May 26, 2015

'hulk juice'

Travis (my boyfriend and other half) has long been perfecting his recipe for what he calls "Hulk Juice." With a name deriving from its Hulk-ish color, this vegetable beverage literally tastes like grass. I don't know how he does it so religiously, honestly. I mean, this stuff actually tastes like the color green, if you can imagine that... and he has had it almost every day of the year, only taking holidays and some weekends off, for the past two-three years. Every Monday-Friday, he has his Hulk Juice in a mason jar on hand and ready to be slugged.
Don't get me wrong, there are some exponential benefits to this verdant concoction. The base of the drink is kale, one of the most nutrient-dense foods on the planet. In one jar of Hulk Juice, there's about two days' worth of vegetable servings... And forget about the nutritional benefits, your energy levels skyrocket due to the abundance of nutrients.
I've tried making my own Hulk Juice, but it usually turned out a puke-resembling brownish color and honestly contained more fruit than vegetable. One day my mother, Beth, miraculously found a way to pack all the nutrients of Travis' Hulk Juice without making it taste like rabbit food (sorry, Trav).

Beth's Hulk Juice

You'll need:
  • 1/4 of a pineapple
  • 1/2 lemon
  • 2 stalks of celery
  • 1/2 banana
  • 2 handfuls of grapes
  • 1/4 cucumber
  • 2 large handfuls of kale (we used baby kale, but regular kale is great too)
  • 2 frozen strawberries (fresh are just fine)
  • a few ice cubes
  • 1/4-1/2 cup of apple juice, depending on taste

It's quite simple, really. Chop up the celery, cucumber, pineapple and banana. Throw in the pineapple first, then firmly pack down the kale (the blades of the blender may only grab the bottom layer of pineapple if you don't). Then add the other solid ingredients, topping it off with the lemon juice, and a splash of apple juice. Blend and add apple juice to taste.


Red or green apples are a great addition, but a few of my family members are allergic to uncooked apples so we steer around them.
Feeds 1-2 people.
For added awesomeness, serve in a mason jar glass and enjoy lakeside.

Thank you for reading! For questions/comments you can contact me or leave a comment below (it makes my day!) and don't forget to 'like' A Dancer's Days on Facebook and follow the Pinterest Board!
Rhiannon Pelletier -

May 25, 2015

memorial day

Hoping everyone in the states had a lovely Memorial Day and took time to remember those who serve and have served our country.
Yesterday my mother, sister, and I along with a couple of friends hopped in the car to make the trek up to Bangor, Maine for an Ed Sheeran concert. Along the way we stopped to have a moment of remembrance for my grandfather, Wayne Audet, who served in the military for twenty years.

Hoping you all had a happy and safe long weekend.
A post about the Ed Sheeran concert and his unmatched artistry within his niche in today's music industry to come (and how can we talk about Ed Sheeran in the context of the dance world without discussing his whimsical and romantic "Thinking Out Loud" music video?). Stay tuned.

May 23, 2015

in this moment

No caption, no explanation, just a single photo to capture a moment during this week. A moment of pause in the midst of a chaotic world. I encourage you, dear readers, to do the same and post a link to your "moment" in the comments.


Thank you for reading. For questions/comments you can contact me and don't forget to LIKE A Dancer's Days on Facebook and follow the Pinterest Board <3

May 21, 2015

"madame galina" by cherie magnus

I have for you today a fascinating essay by Cherie Magnus.

An essay about her son's famous Russian ballet teacher, one I'm very excited to share. It is a wonderful example of the relationship that can blossom between mentor and student. Every word is true with the exception of Galina's name and her friends' names. Take a look.





Galina had known them all: Fokine, Balanchine, Lichine, Nijinska, even Picasso and Stravinsky. She herself was a superstar of the Ballet Russe in the thirties and forties before retiring to teach in Los Angeles.

            No book on 20th century ballet omits her name. Rarely does a month go by without Dance Magazine mentioning her, even now. Those who saw her dance in her hey-day were stunned by her leaps and jumps and were positively leveled by the force and radiance of her personality. Beautiful pictures of her fill every ballet book in the library.

            Her powerful personality is still her main asset today, though her dancing days have long been over. She has grown roly-poly, but when she smiles, hers is the identical dazzling face that graced the covers of souvenir ballet programs in the thirties. If you're the one she smiles at and calls "dahling,m" you're ready to be her slave.

            With ammunition like this, at sixty-eight she's still a considerable force. Combined with Russian prima-ballerina artistic temperament, a delightful sense of humor, and stubborn childishness, she's irresistible and immovable.

            She is extremely emotional about her teaching, her studio, and her students. There's no sense in trying to be logical with her; just pray she likes you.

            My son Jason went to her ballet academy when he was a dissatisfied scholarship student at the Los Angeles Ballet School. As long as he took class twice a week at LAB, they didn't care what else he did. Actually we felt that they didn't particularly care about him anyway.

            Only one teacher at LAB, Olga, taught the daily technique class, and she obviously favored the girls. Two classes per week were girls' pointe classes and the rest of the time she ignored Jason and the other less-advanced boys.

            We had heard that Galina's studio had a man teaching a weekly men's class and were eager for Jason to try it out. We thought it was important for a boy to learn how to dance like a man. Jason was then thirteen and didn't want to pick up any effeminate mannerisms.

            We traveled across town every Wednesday for the 7:30-9:00 p.m. class. It was a killer class, chock full of strenuous leaps, turns and male-bravura steps. We didn't get home until almost 10:00 so it was a killer that way too.

            There were six men in the class including Jason. For various psychological, physical, and emotional reasons they dropped out one by one. When the star student stopped coming to class because he got an acting job, the teacher had it. He canceled the class.

            In the meantime Galina had seen Jason dance and offered him a scholarship. After one class with dynamic Galina, Jason didn't have to think twice about changing schools.

            The big disadvantage of the change was the increased distance and travel time. But the advantage was overwhelming: Jason had a school--and a wonderful teacher--who took a personal interest in him. In addition, several teachers, some men among them, shared the responsibility of the daily technique classes, none of which were devoted exclusively to girls' pointe work (there were separate pointe classes).

            The biggest plus was Galina's classes themselves. When she taught her exciting Russian way, punctuated with wit, humor, and malapropisms, Jason got so energized he couldn't sleep at night. He would sometimes say that he was too exhausted to take anyone's class but Galina's--her energy made tired students achieve new heights, literally.

            Parents loved to watch her classes too--unlike LAB, anyone could watch any class they wanted. There was even a mezzanine overlooking the main studio.

            Each of Galina's classes had many memorable moments. One of my favorites was short, round Galina running around the floor in her tennis shoes after a leaping dancer, commanding, "Stay in the air! Stay in the air!"

            Her pet saying to cherished students was, "I'm going to kill today!" which meant extra work and attention for that particular dancer--who was thrilled to be "killed."

            Our family dinner conversation after her classes (always after as Jason couldn't eat beforehand) would consist of many Galina anecdotes. All of us enjoyed by association her warmth, good humor, and affection for Jason.

            Unlike cold and competitive LAB, Galina's studio had a warm family atmosphere, where most people seemed to care about everyone else. Friendships were formed and people socialized outside of the studio. Frequently during the Friday night three-hour marathon of technique and pas-de-deux classes, my husband and I would go out to dinner with the parents of other students.

            Compared to other studios in general, jealous bitchiness was at a minimum. I admit I enjoyed being part of the family. I loved Galina as much as her students did, but I was never "Cherie," only "Jason's mother."

            But as in any family, there were some rough moments.

            Los Angeles Ballet closed and Jason's old teacher, Olga, came to Galina's to teach, bringing lots of devoted students with her. Slowly Galina's regulars, many of them men, began to take class elsewhere as Olga usurped the other teachers' classes. Finally they only returned for the classes Galina herself taught. Two of Galina's most prodigious little girls accepted scholarships to other schools.

            If you pay for your classes, there's not much anyone can say about what you do. But if you have a scholarship and all classes are free, there is still a price: nothing is ever without obligation.

            Jason asked Galina if it's be ok if he took a men's class elsewhere, and she blew up: "No, no, you come here. I make you great dancer!"

            "But Galina, you hardly ever teach anymore."

            "Is ok. Olga is good teacher. I watch."

            "Galina, Olga is why I came here in the first place from LAB. Olga doesn't like to teach boys."
            "No. I talk with her."

            Which I suppose she did, but nothing changed. Olga was teaching almost every night. She had a strong and faithful following of girls which really boosted Galina's financial grosses. Galina was too kindhearted and romantic to be a good businesswoman. She carried people for months and even loaned money to students. She frequently invested in plans to resurrect her old ballets. And her coffers proved it. Olga meant income.
 Jason started missing two or three classes a week.

            We finally decided he should take additional classes elsewhere and not tell Galina, since that hadn't worked anyway. The only other choice was to quit Galina's entirely, something he didn't want to do. He loved her.

            Two hours after taking a Saturday class at another studio, Jason got a call from Galina who was practically in tears. "I am so hurt. Why you do this?"

            She asked to talk to me, and with Jason on the extension, we both tried to tell her at once that he simply wasn't learning from Olga and needed other classes. He was able to calm her down and assure her he'd be there on Monday, which is all she wanted to hear. She'd won that round.

            Galina also went through the roof when Jason won a summer scholarship to the Boston Ballet for eight weeks when he was fourteen.

            "I don't know why he needs to go away," she pouted. "Some of my students came home after two weeks last summer, it was so bad." And confidentially to me, "I just worry about something happening to him away from home, you know, some bad boys or men making him, us, funny."

            When he returned home in August, it hurt her to say it, but she had to admit his technique had improved. Soon she got use to the idea of his leaving every summer on scholarship ballet programs to San Francisco, Houston, Interlochen, and North Carolina School of the Arts, but she never stopped arguing about it. When he was sixteen she tried to get him a long-term professional job in Los Angeles so he wouldn't leave for his last year of high school at North Carolina's NCSA.
            But after too much of Olga, Jason had had enough. He couldn't let politics dictate his training. He and I made a plan for him to take classes at three other studios as well as attending Galina's technique class on Tuesday nights.

            We didn’t say anything this time, but sure enough, jealous and gossipy people made sure Galina knew about it instantly. This time when Galina called, hysterical, Jason simply said, “I’m sorry you’re upset, Galina, I love you,” but made no promises. She yanked his scholarship and slammed down the phone.

            When Jason and I showed up on Tuesday as usual, his framed picture over her desk was gone. Many photos had disappeared lately. But she didn’t say anything to him, and when I started to repeat what Jason had told her on the phone, she interrupted me. “Let’s forget it?” Another mother told me later that Galina had breathed to her, “I’m just happy to have him back.”

            Galina and Jason loved each other, but as another mentor could put herself aside and think only of the student, Galina could not. After not seeing him for nine months when he was at NCSA, all she could say when he first took her class again was, “Oh, I’m so happy to see him, I’m so glad to have him back.”

            In fact, Galina did have students who stayed exclusively with her for years, as did Olga, and they were still only students. Galina, Olga, and many more ballet teachers are mama-birds who can’t push the babies out of the nest.

            Way back in 1840, American transcendentalist, teacher, writer and father of Louisa May Alcott, Amos Bronson Alcott observed, “A true teacher defends his pupils against his own personal influence. He inspires self-trust. He guides their eyes from himself to the spirit that quickens him. He will have no disciple.”

            Rare in any field, but in the world of ballet especially, such a teacher is unfortunately rare. Ballet teachers crave disciples. Every ballet school has at least one teacher who has intense symbiotic relationships with favored students, who adore them. Most schools demand an exclusive on the very talented. Competition for tomorrow’s stars is keen and no one is positive of anyone’s motives.

            If there were more true mentors, there would be less need of ballet mothers.


For more of Cherie Mangus, be sure check out her memoir:

Thank you for reading! For questions/comments you can contact me and don't forget to LIKE A Dancer's Days on Facebook and follow the Pinterest Board!

Rhiannon Pelletier -

May 18, 2015

recital 2015: part one

The dressing rooms have been cleaned, the hairspray has been washed out, and the costumes have been stowed away. Another year, another recital.
At the Maine State Ballet School, we have three shows: Friday at 6PM, Saturday at 11AM, and Saturday at 4PM. It's one final weekend of sequins and mayhem to top off the school year and mayhem it was. But, interspersed throughout the chaos were moments of vast clarity, moments that made me appreciate what a fantastic job I have.



Teaching dance was my first real job. Like most teens that begin work, it was time to grab a slice of independence and start paying for my own gas, clothes, and outings. I needed money. It was one of the few jobs that I could balance with dancing, going to school, and my own sanity. Teaching made me nervous for a long while. What if I wasn't any good? What if my students hated my class? What if my students' parents hated my teaching style? What if my kids didn't learn anything or improve? What if I run out of original ideas?... It went on and on really.
But somewhere along the way I found my voice and started teaching the kind of class that I wanted to take. I wanted (and still want) an energetic teacher that is funny, kind, creative, and passionate about their job and their students. So I set out to become that teacher. I stopped worrying about whether or not my students thought I was a good teacher (although their opinion does hold great merit) and started worrying about what I thought about myself as a teacher. I was always the bright-eyed and bushy-tailed student. The teacher's pet. If I liked my own class, then I was probably okay.
This recital season was the most relieving, wonderful affirmation that I was doing my job right. I witnessed my students truly become dancers on that stage this year. They used my steps as a language to convey a story and to speak their passion. They lost themselves in the dance and that is what makes me proud above all else.

The tradition of teacher presents is always looked forward to. This year was particularly nice because rather than a surplus of gift cards, chocolate, and body lotions (which, don't get me wrong, are more than appreciated), I received many letters. Students taking the time to type up or write out their own words of thanks means more to me than any Starbucks gift card. That will carry me through much more than a daily caffeine fix (and it's a lot cheaper on the part of parents!).
With profound remorse, I've decided that I won't be returning to teach at the Maine State Ballet School this upcoming fall. I'll still be dancing, I'll still be teaching at Center Stage, I just know that with my senior year approaching, I'm going to need extra wiggle room in my schedule. I also know that time to prepare myself for ballet class rather than running directly from school to work and then to class is immensely important.

It's been a wonderful journey throughout the year. Thank you Maine State Ballet and all of its wonderful students.

Stay tuned for "recital 2015: part two," coming at the end of the month as I finish out the year with the other studio I work for,  Center Stage Performing Arts.

Thank you for reading! For questions/comments you can contact me and don't forget to LIKE A Dancer's Days on Facebook and follow the Pinterest Board!

May 15, 2015

five things that will keep you from losing your mind during recital season (for parents, dancers, and teachers alike)

            It’s that time of year! So grab your kits and caboodles, costume racks, and hairspray. What we’ve been working towards all year has finally arrived. It’s go time... Let's try not to go insane.

1.      Have cameras charged and ready. Recital is a great time to take pictures of your little one(s) with his or her friends and there’s nothing more frustrating than seeing a little red battery icon blinking at you. If your dance school allows videotaping at recital, you don’t want to be in the middle of recording your little one’s tap number and come to find you’re out of memory or the camera is about to die.

2.      Know the line-up. It’s vital to know when your piece(s) are going onstage; therefore, it is helpful to know what numbers are on just before. That way you’ll know by the music when it’s time to start lining up in the wings.


3.      Be there early. If you’re a teacher, you must be there early. Your students (especially the first timers) will be flustered and nervous and it will be comforting to have a familiar authority figure there. Many first-time recital parents will also need guidance and the directors will thank you for it.


4.      Know what each costume requires. Is your hair in a bun or ponytail? Does the teacher want brown eyeshadow or black? Are we allowed to wear earrings? These are all questions that should be addressed before recital week. You don’t want to show up at recital and see that strip of fabric and not be sure whether it’s a headpiece or a belt.

5.      Have the essentials on hand at ALL TIMES. Aka: hairspray, bobby pins, safety pins, and extra tights somewhere in the building. With these things, you’ll make it through.

Take a deep breath, everybody! We’ll get through this!
Thank you for reading! For questions/comments you can contact me and don't forget to LIKE A Dancer's Days on Facebook and follow the Pinterest Board!

May 14, 2015


Today A Dancer's Days reached 500 likes on Facebook! I'd like to thank you all so much for reading, commenting, following, and 'liking' my blog. It has been a process and a journey but I really am excited to see this blog going where it is. You guys are amazing and I thank you for every ounce of support I have gotten.
Thank you.


May 13, 2015

the best survival guide to a teacher's first dance recital

I'd like to share a post I contributed to Dakiki.com, the up and coming leading website for dance competition and dance studio logs and is a place to connect professional dance profiles for judges, directors, teachers, and choreographers to other dancers to find work etc... I'm very excited to be part of this budding business.
With recital season well underway, I think this is an important survival guide to have. These are all tips I learned from my own first recital as a teacher rather than student. I have applied and plan to apply these tips in all of my recitals to come. Let's take a deep breath and try to keep our heads screwed on straight! View the full article here.
So … You’re about to take part in a recital? Congratulations! You’ve made it through a likely long (and at times frustrating) but rewarding year and all of it has finally come down to this. Your students know their choreography, costumes have been distributed and it’s time to begin the grand process that is a dance recital.
I recently had this same experience and it was truly a blast. I dove in head first with my first year with a grand total of six classes all of various ages and ability levels. Some were large, some were small and every class taught me something new about working at a recital. However, there are certainly some things that I wish people had forewarned me about prior to the first show. Here are ten things to know about being a teacher at a dance recital before walking into that theater.
1. Some students will likely not be on time. I’m telling you, expect some late entries. I was astounded that some parents and students arrived either at show time or just a couple of minutes before curtain call (people, there were a dozen emails stressing that you arrive an hour early! Sheesh!).

2. Have your roster with you at all times. It will likely be your job to do a headcount and line your students up. When you have multiple classes like I did or a particularly large class, it’s really easy for names and numbers to get jumbled in you head. It definitely helps to have your roster handy.
3. Bring extra supplies. This may even be the most important lesson. You WILL at some point need most if not all of the following: bobby pins, safety pins, hairspray, elastics, blush/lipstick/eye-shadow, extra tights, and glue (for costume malfunctions). I would recommend putting it all into a “recital emergency kit.” I will definitely be doing this next time around.
4. Make sure everyone is in the correct dressing room and stays in that area. The last thing you need is to be running around to gather all of your students together before they go on stage. Keeping a calm, well-organized system is the key to recital success.
5. Talk to your students before they go on stage. Sure, you’ve probably performed in dozens of recitals throughout the years, but this is still new to the young ones and it’s important to remember how nerve racking it was our first few times. Tell them how fun it will be, say good luck, and remain calm. Even simply talking will help them relax and will help you avoid the “in the wings and about to go on stage meltdown.”



6. Particularly for your young classes, it helps to have a written lineup of who enters from either side of the stage. Sometimes it takes a moment to remember which side everyone was on in the studio and then reverse it to figure out which side of the stage that is. Personally, I found that it was nice to eliminate the possible confusion and have the lineup with me.
7. When they’re on stage, smile at them from the wings. This one is also somewhat for younger students. I found that if they looked into the wings and saw me smiling, they would too, even if it wasn’t my class.


8. Be patient with parents. They’re stressed out too, especially if it’s their first time. Be available and offer help whenever needed.
9. You can never remind your students enough times to not talk in the wings! I didn’t have too much trouble keeping my students quiet. It’s a grand experience and I hate to shush their little squeals of excitement, but keeping the noise to a minimum is extremely important.
10. Have fun and be proud of yourself. There’s something so rewarding about seeing your students out there demonstrating all you’ve taught them and seeing them have fun doing it. Take a moment to enjoy your job and realize that all your hard work through the fall and winter seasons has paid off.
Follow these rules and you’re sure to leave recital feeling relieved and excited for next year. Break a leg!
Thank you for reading! For questions/comments you can contact me and don't forget to 'like' A Dancer's Days on Facebook and follow the Pinterest Board!

May 12, 2015

the lowdown: may 2015


There are few things I dislike more than being sick, and for whatever reason I find myself fallen ill far more often than I'd like. After trying a new restaurant for Mother's Day,  I was greeted at 4:30 AM with the rude awakening of food poisoning. Thus, my next twenty-four hours were shot. After celebrating all that my mother does for me and my two siblings, her superpowers were put into practice not five hours after the day she could put them to rest. Mothers really do never get a break.
It's belated on this medium but Happy Mother's Day to the most selfless, passionate, and devoted parent. Don't know what I'd do without you.

Nutcracker 2014
It's days like yesterday that make me feel living at home still isn't such a bad thing! Eighty degree weekends in May aren't so bad either. Last week was stunning.

Dinner and a show with Trav. Gorgeous Maine sunset in May.

Chiminea on the deck with the family

Our Chihuahua, Bella. Yes, our Chihuahua is named after the coach of the New England Patriots, Coach Belichick.




I have emerged on the light end of the tunnel that is finals week. The boulders that had been resting on my shoulders for a solid month have been lifted and I am a free woman... For the most part!
Through the month of May, I am thrilled to be interning with Taproot Magazine, an absolutely stunning publication about homesteading.
The editor Amanda Soule is a close friend of my mother's and I have taught two of her boys in my advanced jazz class. Amanda is the epitome of gentle grace and natural living, surrounding herself with the organics of life and flawlessly incorporating the routines of centuries ago with those of the twenty-first century. I am honored to be learning so much from this amazing woman.

With this internship, I will have enough credits to finish my senior year and be ready to graduate by the spring of 2016. It's truly unbelievable. Everyone always tells you the older you get, the faster time flies. It's difficult to understand the truth to that until you experience it yourself...


Recital season is upon us. It's a time of stress and chaos but also great reward. It's what we teachers and students work towards all year. Seeing your kids out there dancing your choreography, losing themselves in the movement, makes all the hard work of the fall and winter seasons worth it. It's important to hold fast to that feeling throughout the year during the days of weariness, loss of heart, and lack of enthusiasm. If you expect your students to maintain energy and interest, you need to expect the same of yourself as a teacher.
Recital 2014
This weekend will be the recital with Maine State Ballet in which I have four classes dancing a long with the company ballet number I will perform in myself. Every recital the company does a ballet piece to invoke a little inspiration amongst the young ones. Pictures to come of this year!
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