Girlie Dance Academy

by KaraLynn

  

I can't believe this. I am wearing a lyrical ballet dress. I have on a white cotton spaghetti strap leotard with a white chiffon dropped waist skirt. The skirt is short in front and drops to knee length in the back. The leotard has a chiffon overlay at the chest with white sequin detailing. Underneath I am wearing a Capezio dance belt and a pair of pink Capezio dance briefs with a wide elastic band that hugs my waist. On top, I am wearing a slightly fiber filled natural cotton/spandex girls strapless bra. Covering my legs are a pair of nylon/spandex Danskin convertible tights in light toast. On my feet is a pair of Leo's lyric sandals in soft suede leather with an elastic top and heel straps holding my feet snugly. I'm about to perform a three minute routine to Mendelson's scherzo, A Midsummer's Night Dream. As I look at the reflection in the studio's mirrors, I see a pretty dancer looking back. Hey, that's me, Allan O'Malley.

 

"Well it's all up to you, Allie", said my sister Janet. I have two older sisters, Janet and Sarah. I was born somewhat as a surprise to my mother and father. Janet was almost twenty years old and Sarah was 15 when I was born. Our father was a banker and he died when I was quite young. My mother raised the three of us on her own and also ran the Dance Academy. About five years ago she became very ill and, sad to say, she passed away. It was decided that my older sister Janet would be responsible for raising me. Janet along with Sarah would also take charge of the Academy. Janet would run the day to day operations of the school. Sarah was an accountant for a large downtown firm so she would handle the business end. On occasion, she would also fill in as a dance instructor. I took a few lessons when I was younger but didn't have much to do with studio for the past few years.

The O'Malley Dance Academy was founded by my grandmother. Originally Irish step dancing was taught. Over the years it became more of a general dance school and Irish dancing had been dropped. It now focused on classical ballet, tap, jazz, and lyrical ballet. The students' ages ranged from three year olds to adults. 98 % of the students are female.

"I would hope that you would continue in the tradition of the O'Malley's. You are about the age when both Sarah and I became a big part of the operations of the dance school. We could really use another assistant in the day to day running of the place. We have many excellent instructors and all would like to see you join in helping to keep the Academy going."

"Let me make it clear again what you will be expected to do if you decide to join us. You will need to become familiar with all aspects of the business, including dance instruction, costuming, stocking the dance store, music, makeup, finances, promotion and recitals. You would do everything, including sweeping the dance studios. We will all help you with this if that is your decision. Remember all of our employees and instructors must participate in our classes as a student, help with the costumes and makeup at recital time and demonstrate a sense of choreography and music selection for several dance routines. Before an employee is accepted, they must perform several routines, as a female, in front of our group as well as answer a series of questions related to dance and the school"

"I have a set of books, magazines, videocassettes and DVDs that will help give you some background on dance. I will also give you some dance related internet websites that I want you to explore."

It had been a week since this was first proposed to me. I thought about it a lot all week. I knew that my family was having some difficulty with the Academy. I felt that I was obligated in some way to help continue the traditions of the school. Besides, I thought that I could get closer to some of the girls that took lessons at the studio.

My decision was yes.

"That's great. Thank you for choosing to join us. We hoped that you would. In fact, we set a few things in motion already so that we could get you started right away."

"Since you missed the experiences of being a young dancer, Mrs. Anderson has decided to help recreate some of them and take a few photos and videos. You will change into some dance outfits and she will take photographs for your dance scrapbook."

Mrs. Anderson taught at the school and was the school's unofficial photographer. She had two daughters that took dance lessons here. Hailee was a dark short haired beauty a year older than I was. Shannon was a long blond haired dancer a year younger.

I put on an oversized leotard and a pair of oversized tights. They were quite baggy at the knees and ankles, quite like the look I saw on the youngest dancers. I also had to put on a pair of large black tap shoes with extra large pink ribbon ties. She had me put on a pair of pink bunny ears and attached a fluffy bunny tail. Next, I changed into a black leotard. My face was made up with a cat's nose and whiskers. I had to wear a pair of cat's ears and she attached a cat's tail.

I was really excited about the next change. It was my first ballet outfit. I put on a pair of Capezio ballet pink nylon tights with back seams. Over them I slid into a baby pink leotard with cap sleeves and rose and ribbon appliqués. The tulle skirt was trimmed with sequins and a rose. On my feet was my first pair of ballet slippers, pink of course. I posed in this for the longest time and really didn't want to take it off.

The last change was into a costume called Pretty Lil' Miss. First I was handed a pair of Danskin Girls Ultra Shimmer tights in theatrical pink. The tights felt very silky as my legs brushed against each other. I next stepped in to a hot pink and white velour Lycra halter leotard and pulled it up over my shoulders and put my arms through the openings. The attached white tricot skirt was covered in hologram glitter. I pushed the matching pink mitts up my arms and over my elbows. Mrs. Anderson put a blond curly haired wig on my head and attached a white bow headdress. On my feet was a pair of Blochs Tap shoes in Tan with pink elastic ties. Just as I was about to come out on the floor, two identically dressed dancers also appeared. I recognized them as the Hailee and Shannon. Both girls were assistant dance teachers. They had to take four weekly dance classes and did assist the teachers and student teachers on a regular basis over the last year. Later in the dressing room, they explained that they thought it would be fun to help me with my dance tasks.

The music started and they began to do some dance steps. Their mom took some photographs that would make it appear that I was also doing the steps. She also had a videotape camera that she was using along with a still camera. I now had a history and a scrapbook of when I was a little dancer.

I would begin my dance lessons over the next few weeks. First I started ballet lessons. Kelly Bowman would be my instructor. She had taught at the school fulltime for three years and had a B.A. in dance from the university. "Ballet is our bodies' way of responding to music in a very specific and formalized way. Ballet is a combination of conventional poses and steps that are combined with light flowing figures. The art of ballet requires technique, grace, style, dedication and strength."

I wore the appropriate attire for ballet practice, a black leotard, pink tights and pink ballet slippers with pink elastic across the instep. I also brought along a short chiffon character skirt to be worn as a cover up or as part of my outfit worn during certain movements.

"There are many terms in ballet and a good student should become familiar with them. The language of ballet is French, originally developed in the court of Louis XIV. Ballet has a history since the 1600's, inspired by the graceful movements of fencers and is considered the classical form of dance. There are five basic positions of the feet and four basic positions of the arms. By mixing and matching positions of the feet and the arms, the aim is to produce graceful flowing motions with no visible joints between the movements."

"The basic principle of classic ballet is the turn out. To achieve maximum mobility, the dancer should be able to make a 90 degree turn out of the leg from the hip socket without any strain. In the first position (premiere), a dancer stands with heels together and feet extending sideways in a straight line. Let your feet melt into the floor giving you a secure base. You do not look down at your feet. You should feel yourself standing tall."

She worked with me on this but it seemed to be quite difficult. I don't know if I ever would be able to do a full turn out. She held my hips and said to turn through the hips and lock my bottom and not just turn out the ankles and knees.

"In the second, your heels are about one foot apart with your toes pointed out keeping the turnout of the first position. The transition from first to second position should be smooth and graceful."

"In the third position you cross one foot in front of the other. The heel should be touching the middle of the other foot. Check that your hips are centered equally over your feet."

"In the fourth, your feet are crossed, as in the third, but they are separated about one foot length. Your hips must be centered between your feet."

"The fifth position (cinquieme), allows for greater flexibility and a beautiful long line of the body. The toes should be lined up and touching the heels of the other foot."

"There are four basic positions for the hands. The preparatory position starts with your arms hanging down in front of your body, slightly forward, forming a softly curved oval shape with your hands. Your fingers are curved, but your hands do not touch. In the first position your raise your arms below your shoulders keeping the oval shape in front of you. On the second position you reach your arms out to the sides in an open line, slightly sloped down from your shoulders. Your hands are curved as if embracing the audience. In the third position, lift your arms up above your head keeping the oval shape and framing your face. Your third fingers softly follow the oval up and your thumbs point toward them."

"If your posture and turn out are correct, you should flow smoothly from position to position."

For warm-ups, we practiced plies. We were bending our legs in demi plies and grand plies to loosen and promote elasticity in the muscles. We also used the barre, a wooden pole fastened horizontally on the wall to help with the stretching exercises. The main studio had one wall that was lined with mirrors. The opposite wall had windows to let the daylight shine in. The floor had been redone with a special flexible base underneath, designed to let the dancers safely feel their jumps.

We did some center work and practiced jumps called sautés and jetes. The turns were called piourettes and tour en l'airs. Our hand movements had to be precise as we practiced spheres and arc movements called pot de bras. We finished with some traveling steps known as demipointe. This was like walking on tiptoes. Full pointe techniques would be for more experienced ballerinas.

"You need clear movements from the heart, that is, from the center of your torso, through your body and out to the tips of your fingers. Keep your head high, like you were trying to lengthen your neck."

I was really worn out and this was only from the warm-ups. I can see that ballet does require strength, focus, concentration and dedication.

Sue Lane was my tap teacher. She was working on a Masters of Art program majoring in dance. She has taught at the school for five years and has some performance experience in national dance companies

 

"In tap dancing the movement is concentrated in the feet. The body is an instrument of rhythm. Tap is a step dance tapped audibly to the music through your shoes. For younger dancers, tap is where you get to dance and make noise at the same time. There is a lot of fancy footwork and sound is a way to express the dance".

I was wearing the typical uniform for tap class, a leotard and tights with black tap shoes. This leotard was from Mirella and had cap sleeves and a scooped neckline. Some students also wore black bike shorts over their leotards. Like most dance classes, the hair was tied and pulled away from the face and no jewelry was allowed. No sweatshirts or sweatpants were allowed either. The tap shoes had hard soles and heels with taps added to them.

For warm-ups, we did some basic stretches first. Tap requires great leg strength and overall dance dexterity. At this level we also practiced some tap turns, progressions and time steps. A time step is a rhythmic combination repeated like a drummer to keep time. The basic time step is a six beat phrase with the accent on the fifth beat. A phrase we learned was "Thanks for the bug-gy ride" with the accent on the -gy. From this basic time step, other steps can be added like the brush, flap or shuffle. Advanced classes would focus on speed steps advanced time steps, pull backs, and wings. We were asked to clap, beat and walk to some basic rhythms.

The Lyrical instructor was a younger girl, Nikki Martin, a student at the academy who had performed with other companies. She has been dancing since the age of three. She attends master classes and special choreography sessions.

"In lyrical ballet the emphasis is on interpreting the music. The dance reflects the lyrics and the rhythm. The focus is on soft flowing movements similar to ballet but not necessarily following the exact forms. By using contemporary music, the dancer has an avenue for self expression through grace and control."

The attire for lyrical class was a pink leotard with tights. The leotard had princess seams down the front and was made of cotton and Lycra. It stretched to fit tightly across the chest. The shoes were tan half sole lyrical shoes. Sometimes the dances are done barefoot. A short skirt and a long flowing skirt of Lycra and chiffon were included. The skirts help to convey the effect of the dancer floating through space. Hair is tied back and held with clips or barrettes. A song chosen was from the movie Titanic, "My Heart will Go On" by Celine Dion.

Stretching began the warm-ups. We practiced performing the skills while moving to the music. There was a lot of floor work and combinations. There are graceful jumps ands splits and soft flowing movements with the arms.

"The dancer becomes an actor to tell a story through dance techniques. The emotion and feelings of the song are demonstrated through balance, flexibility and the creative movements of the body. Pace and tone are important. The expressions on the dancer's faces can add to the moment. In lyrical, there is some partnering of the dances and some group interactions."

My next class was Jazz. My instructor was Deborah Smith. As a teenager, Deborah had taken classes at the Academy. After college, she choreographed and performed with the resident company of the Main Street School of Dance.

"Jazz is a fusion of kicks, leaps and turns, put to the beat of the music. There are a large number of styles, techniques, rhythms and variations. There is room for improvisation. The dress for class can include a colored leotard and tights. Sometimes a crop top or a dance top is worn over a sports bra. Lycra shorts or jazz pants are also worn. For practice black half sole jazz shoes are needed. In competitions Black Bloch Jazz shoes are recommended."

Warm ups would be isolations, bending and stretching. Combinations of turns, kicks, leaps and jumps would be practiced. There are some traditional jazz techniques but there is also room for creative variations. We practiced with two songs, All That Jazz from Chicago and Material Girl by Madonna.

While the dance lessons were going on, I was also being instructed in costuming and makeup. Mrs. Douglas was our part time costumer. For years she was the assistant costumer for a large dance company in New York. Three years ago she moved here to live with her daughter. She is an excellent seamstress and had designed many original costumes for major companies. She had many connections in the costume world and was able to get a nice price for the large orders that our school placed at recital time.

"Costumes are an important part of the dance performance. Much like makeup, they can inspire the dancer to become a character that she is portraying. The cut, fabric and texture of the costume can help to accentuate the performance. The eyes of the audience are on the dancer but they also see the costume."

"I'm going to select some costumes and ask you to take them home. You will write up a description of each costume and you will determine what type of dance it is best suited for. The costumes are all in your size, but you do not necessarily have to wear them. I have also included the accessories that you might need such as tights and shoes. You will take one bag each day and return it the next. Also to show you one of the tasks of a costumer , I have two headbands for you. On one, you will hand sew each of these sequins, on the other you will use this theatrical glue to do the job. You will learn that even the smallest detail is important in costuming. "

Not wear each costume? Who was she kidding? I couldn't wait to get home and rush upstairs to try on the first one. After putting on my dance belt, I slid on a pair of Danskin pink run resistant tights. The first costume was a pink Lycra camisole leotard with a type dye ribbon overlay. I stepped into it and pulled up the top. It had thin straps that I slipped over my shoulders. . Attached to the leotard was a tricot skirt in pink that was quite long. It is described as a romantic length skirt. There were three tiny rosettes attached at the neck. Crystal sequins were also part of the trim. I enjoyed how the skirt brushed against my legs as I moved. In the bag was a pair of ballet slippers and a pink headpiece. This was definitely for a lyrical ballet. There was a tape with two songs, Somewhere Out There by Celine Dion and Time of Your Life by Green Day.

The next day, I put on a fluorescent lime velour flapper dress. It had a row of fringe across the chest and three rows of fringe at the bottom of the dropped waist. The third row fell just across the knees. There were two sequin bands, one across the chest and one above the bottom fringe. With this dress there were matching briefs. I was thrilled to see a pair of black fishnet stockings was included. They had a different feeling as I put them on. A feathery headpiece completed the 20's look. A pair of Capezio jazz shoes definitely told me this would be a jazz costume. There were lyrics to the song "Teach Me How to Shimmy". As a moved I could feel the fringe shifting back and forth across the fishnets at my knees.

The next garment bag was quite full. As I opened it I saw it contained a pink and white leotard and a full tutu, definitely for ballet. I put on a pair of Danskin pink tights and later ballet slippers. Included were a headband with pink fur attached and some matching pink fur bracelets.

The next day, there was a note to meet at the Anderson's house on my way home. As I came in, Mrs. Anderson greeted me and told me that the girls were waiting upstairs.

"Hi, Allie. We arranged for you to try on today's costumes here."

Hailee was wearing a dress over a pair of jeans. Shannon had a light blue velour hoodie on with matching pants. She also was wearing a striped tie back halter from Wet Seal.

"You caught us doing our nails. We'll help you do your now before we change"

They were using Wet 'n Wild Precious Metals Nail Enamel in Red Graphite. I was a little embarrassed but I let the put the shiny colors on my nails. They also shared with me some Smackers lipgloss. I had Sweet Cotton Candy Cane with a taste of mint. Allie put on Shine On Strawberry and Shannon applied Berry Sweet that she said tasted like tropical fruit punch. They showed me how to put on an extra layer on my lower lips for a pouty look.

Their rooms were very feminine with lace curtains, pillows, comforters and stuffed animals. On the walls were dance and cheer posters. Each room reflected the girl's different personalities. Hailees room had the lived in look. The wicker laundry basket in the corner was overflowing with clothes needed to be cleaned. The top of the dresser was covered with stacks of clean clothes, various types of makeup, several sports trophies, a jewelry box and a large globe. An empty two liter Pepsi bottle sat on the floor. The mirror over the dresser had photographs and clippings taped to the edges. The nightstand held a TV DVD player with stacks of DVDs. The computer table held a pile of books and fashion magazines. The bed was made up with a soft comforter and held several large pillows.

Shannon's room would be the "after" photo in an interior decorator's project. The chest underneath the window held several stuffed animals neatly arranged. A CD player and an organized stack of CDs sat on the nightstand. In a small bookcase were school books and a set of photo albums and scrapbooks. Neatly displayed on a shelf were a collection of Barbies. The closet was arranged in a logical manner. There were separate groups of jeans, shirts, skirts, dresses and school uniforms. Her shoes were neatly organized on the floor. The ruffles and lace on her bed's comforter matched the lace curtains at the windows.

As we were talking, a young girl that that called Kelly, came in. I assumed this was their sister. She was wearing a pair of cheer shorts and a cheerleader summer camp T shirt. On her feet was a pair of ankle socks. She had a small white ribbon tied to a short ponytail. She asked if she could play with the Barbies, so Shannon took down several from the shelf and took out a travel case of Barbie clothes from the shelf in the closet. Kelly thanked them and left for her room.

After she left, the girls giggled and said, "How did you like our brother Kelly?" I was quite surprised.

"When he was very young we used to dress him up as our baby doll sister. Mom didn't seem to mind so as the years went on, he got to wear our hand me downs. He especially liked wearing our dance costumes and our cheerleading outfits. We have taken him out several times dressed as our sister, but he would never go out on his own and doesn't wear our clothes outside the house, although he becomes the sweetest little girl in a frilly party dress for Halloween. So as you can see we had a lot of practice and it will be easy for us to help you with your clothes, makeup and hair."

We went back to Hailees room and they brought out my first costume. My first guess was that it would be a tap dance outfit. It was a snake print Lycra top and mini sequin disc skirt trimmed in marabou. They showed me how to first stretch the tights across my body so that they would be easier to put on. I wore the matching trunks and mitts that were like gloves, without the fingers, that slid up my arms towards my elbows. A marabou trimmed hat topped it off. A pair of one inch heel tap shoes completed this one.

I had a CD with the songs Sing, Sing, Sing and In the Mood.

The last outfit could be described as a ballet pink nylon camisole leotard with a keyhole back. Mini sequins were attached at the top and there was an attached peach chiffon romantic skirt and there were matching shoulder drapes which was like an attached shawl that you slid your arms through. They gave me a pair of white tights and said they would make my legs seem longer. As a moved around the room I could feel the swaying effect of the skirt as I moved along. I kept a written description to bring back to class. The girls took some pictures of me in various outfits.

They next brought me into Shannon's room. There neatly hanging in the closet were three cheerleading outfits.

"Hailee and I are both on the cheerleading team. We switched uniforms this year and they let us keep last years uniforms. We want you to try it on with us and do a few cheers. We are going to try to arrange it so that you could join us for cheer camp this summer. That would be cool."

I took the uniform and changed in the other room. The uniform had a sleeveless top and a short cheer skirt, both in maroon. When I was ready I came back. Hailee handed me some maroon cheer briefs that I quickly slid on under the cheer skirt and we practiced some cheers with pompons. It was embarrassing but fun.

Mrs. Anderson and the girls told me that there was an upcoming dance performance competition held at a downtown hotel. I wouldn't be a performer but I could go as an alternate. It was customary that the dancers be dressed as young ladies on their way to and from the competitions. So we were off to the mall for some shopping. They had met with my sister Sarah and she had arranged for some cash to cover the clothing expenses. Before we went, they decided I could wear my jeans and gym shoes but they had me switch sweaters. Also one of them decided that I should get a more girlish shape and they handed me a bra to put on. It was padded just enough to give a hint of shape.

They decided to show me some techniques for everyday makeup. They talked about the three basics, eyes, cheeks and lips and how to highlight a feature and reach a beautiful balance. They put on a very light Cover Girl Pink Blush on my cheeks and added a dash of Ice Princess Lip Slicks. Shannon swept a light shadow over my eyes. They ran a quick brush of Maybelline Full n Soft mascara on my lashes. They brushed out my hair, added a short fall and tied in a pink ribbon.

At the mall we first stopped at a store called Delias.They seemed to know most of the salesgirls throughout the mall. Shannon and Hailee helped me into a striped knit dress with cap sleeves and a square neck. There was detailing at the waist and the pleats dropped top just below the knee.

"You have great legs so we'll get you a pair of Donna Karon pantyhose to show them off."

There would be an awards presentation at the end and they suggested a black rayon/ spandex full A line skirt with a tulle peeking out from the hem. They told me tulle is the mesh that is often used for an effect and is used in bridal veils. A simple white ribbed tank would be worn on top and they selected some bracelets for my wrists.

Our next stop was at American Eagles Outfitters(AE). They helped me find a slightly crinkled silk cami with adjustable shoulder straps and a side zipper. It was gathered at the bodice with some lace edging. I was given a gray herringbone wool pleated miniskirt that reached mid thigh. It was quite short. It had a buckle at the waist that secured with Velcro. The girls suggested a pair of black tights. Before we left they found a cotton/wool soft cardigan that added to the layered look. It had sequins and shiny beads ribbing the hem and the cuffs.

"Since will be staying over night you'll need some PJs."

We look for a cute pair with a top and pants with clouds and teddy bears. We also browsed for clothes at a store called Wet Seal and looked at some fancy jewelry, hair items and bracelets at Claire's Accessories.

On our way back we stopped at the dance store at the Academy. I purchased some practice leotards, some tights and some legwarmers. My sister Sarah had surprised us and brought each of us short matching soft cotton dance robes with the word dancer and a design of pointe shoes embroidered on the front.

They also gave me a garment bag to take home. It contained my last outfit that I would later try on later. It contained a Lycra lyrical dress with an empire waist and a skirt that was calf length. The chiffon skirt had high slits on both sides and attached trunks. As I pulled up into the dress, I found that I liked the feel of the lyrical outfits the best.

I was worn out after a busy day of modeling dance costumes and shopping at the mall. .

On Saturdays I spent my time studying makeup with Annie Wortell. She had been the head makeup consultant for several dance companies and teaches a class at the college in stage performance makeup. She often helped out at our recitals. Two students from her course, Greta and Danielle were also there to assist. Hailee and Shannon had agreed to be models as I was learning the makeup techniques.

"Makeup application is one of the basic tools used by all theater performers. Stage makeup techniques are much different from those used in every day non performance makeup. When seen up close, stage makeup appears overdone and exaggerated. Some dancers feel self-conscious when they first see themselves made up. Without the makeup, the bright stage lights and the distance from the audience would both combine to washout the dancer's faces. If you don't accentuate the contours of the face or highlight the mouth and eyes, they almost disappear on stage. A faceless dancer can't hold the audience as well as one with a clearly visible smile and eyes that sparkle. We use makeup just as we use costumes to change into character. Younger girls may not use makeup in their everyday lives, but putting on makeup before a performance can be a reminder to call up the emotions and energy that are needed on stage. The process itself can also be used as a calming ritual that helps the dancer transform herself into someone who can command the attention and admiration of the audience."

"We recommend a light moisturizer be applied and allowed to set before any other makeup is added. We use oil free Neutrogena Moisturizer. This is followed by the foundation. A theatrical supply house, Ben Nye is where we purchase the foundation. We use the Natural Series Matte foundation in Crème. Watch and follow me. I'll makeup Hailee and you will makeup Shannon. Use cosmetic sponges as we dab it on and blend it into the hair line, under the chin, down into the neck and up to the ears. Cover the eyelids and lips because this helps to provide maximum staying power for the makeup that will later be applied over it. We will set the foundation by applying makeup powder in the same shade as the foundation. Use as fluffy makeup brush. For the younger girls like Shannon, we often substitute baby powder to set the foundation. Next we'll lightly apply a pink blush to the cheekbones being sure to blend it up into the hairline. You can use a brush or a cotton ball to do this. Be sure to add a little blush on the chin and forehead. The blush we use is Love My Face in Luscious Pink."

On the lips of the younger girls we lightly apply a pink lipstick, Love My Lips Crème Sheer Delight. For the older girls we first line the lips with Love My Lips Pencil in Pink. We fill the lips in with pencil by stretching the lips and starting at the center of the top or bottom and color out to the corners then blot and reapply again. Try it on Hailee. Finally we apply the same lipstick we use on the younger dancers lips. A lip brush gives you much more precision than applying it from the tube."

"Next, we will work on the eyes. For Shannon we apply a light brown eye shadow to the eyelids and then apply black mascara to the upper lashes. For Hailee, we use two shades of brown eye shadow. Greta will help you with Hailee's eyes. Apply the lighter shadow over the top section of the eyelid and blend it into the eye brow. Next cover the bottom half of the lid with the darker shade. From about 1/3^rd of the way from the inner eye you sweep the darker shade up and over the upper lid past the corners of the eye. Finally apply the lighter shade just under the eyebrow. We like the Maybelline eye products. Using Maybelline Expert Eyes Pure Black eyeliner, apply a thin line just above the upper lashes and slightly extend past the corner of the eyes. Starting in the middle of the lower lid, apply a thin line underneath the bottom lashes and slightly extend past the corner but don't connect the top and bottom. Liner should be applied in short strokes and gone over again, keeping the skin pulled taut to achieve a straight line."

"Using Maybelline's Volume Express Waterproof Mascara in Very Black, apply the mascara to both the top and bottom lashes. If the eyebrows are very blond, like Shannon's, you will need to use brown powder to highlight the brows. An eyebrow pencil makes the brows appear unreal. To add some sparkle and shine to certain performers, we highlight key light catching spots with sparkle or glitter. We'll highlight the cheekbones, under the brow bone and on the lids."

"When we are done with the makeup, I'll also show you some dance hair styling tips. In most dances, the hair is up and out of the face. Bangs are pulled back and secured with barrettes. Wispies need to be gelled back smoothly off the face. With Hailee's shorter hair we will tease it a bit to give it some body. We use clips and headbands to put hair into a bun or a tight ponytail. Watch me as I show you how to make the ballet bun for Hailee and then you can try it on Shannon. You gather the hair and pull it back and brush it up from the jaw line. Gather it to form a ponytail and use elastic hair bands to draw it back snugly. Now, this is key, twist the ponytail and coil it into a tight circle. Use hair pins to secure it. Now wrap a fine hair net around the bun and keep twisting and wrapping and then flatten the bun. When completed, finish with extra hold hair spray and pin it into place as needed.

I talked with the 2 students from the college. They were taking a course in theatrical makeup applications. They mentioned that I might want to take a two hour workshop with them. I know I couldn't have done any of this without their help. They also offered to do a makeover on me, but I had to attend a dance class. During the session they were taking pictures and videos as the girls were being made up. When we finished, they showed me how to gently remove the makeup.

After several months, I was ready for the interview. On a Saturday morning the panel was ready to meet with me at the studio. The panel included my two sisters, two of the dance instructors, the costumer and Shannon and Hailee. Shannon was dressed in a skirt and a long sleeved stretch cotton white shirt. Hailee was wearing a lace skirt and an asymmetrical striped top. I noticed both were wearing footless Capezio tights. I was amazed how much I had learned about fashion over the last few months.

I was in my practice leotard and was wearing my dance robe. I was asked several questions about dance. I described dance as a mix of physical and emotional qualities that required effort and discipline of the body and the mind. My dance instructors gave reports on my progress in their classes. The costumer, Mrs. Douglas, commented on the notes I took on the various costumes I had worn. When asked about the future of the dance academy, I suggested that we look into offering classes in Irish dance again. After all, it was a part of the history of the Academy. I also suggested possibly offering courses in gymnastics and cheer classes. Shannon and Hailee smiled at this remark.

After my presentation, the panel met and made their decision. I had passed this initial phase and they welcomed me as an assistant to the studio.

There was a small party afterwards where I was given some presents. First, I received a Danskin backpack/tote to carry my dance clothes. Inside the backpack were several falls and hair extensions and a makeup set from Bonne Bell. As I looked further inside I saw a Ballerina Barbie with some additional clothes. The girls had also given me the cheerleading uniform that I wore at their house and Shannon included a short dark blue plaid school skirt, Junior size 9. There was also a dark blue Old Navy lambs wool long sleeved V necked sweater and a pair of white knee highs. In a Victoria's Secret bag I noticed some lace boy shorts and a lacy matching camisole. Greta and Danielle had brought me a Dancer's Makeup Kit with professional quality makeup and brushes created by the American Ballet Theater.

Later that year, the Academy held their recital, Somewhere in Time. I helped out a lot backstage with costumes and makeup. I also performed with one of the Lyrical classes. My training continues and I'm especially interested in choreography and costume design. I know I still have a lot to learn, but I was enjoying myself and the time I spent with the girls.

  

  

  

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