About the Teacher
Annemari Autere was born in 1952, in Oslo, Norway. At the age of seven she began classical ballet training in Finland, she subsequently studied four years at the St. Gallen Theater Ballet School in Switzerland. On returning to Norway 1966, she entered the Norwegian Opera Ballet School.
As a thirteen-year member of the Norwegian National Ballet, Mrs. Autere toured Norway, Finland, Central Europe and the United States. In 1974 she was invited by the Royal Ballet of Sweden for a tour in the United States and Canada.
Mrs. Autere knows the Russian style (Vaganova), the Royal Ballet and the Bournonville School of teaching. In modern dance she is mainly influenced by M. Graham and José Limon. Her work has developed into a personal method of teaching named BalletBodyLogic, she takes the body’s own logic into account and advocates that technique is mechanical and depends on the deeper lying muscles (red muscle fibers), as well as the connective tissues’ internal movements. This work has made out of Mrs. Autere a sought after guest teacher/educator and she has presented her method at ADF (American Dance Festival), at Universities in Finland, Sweden, Holland, Estonia, Latvia, Spain, Portugal, USA; Opera Ballet School in Norway, Riga State Ballet School, Arts Printing House in Lithuania, Riga Contemporary Dance Festival, Riga National Ballet, Estonian National Ballet Company, and at conferences like IADMS (International Association for Dance Medicine and Science), NOFOD (Nordic Forum for Dance Research), TaMeD (Tantz Medicin Deutschland), UNESCO/CID.
Based in France since 1987, Mrs. Autere was the Associate Professor at the Arts Department of the University of Nice. Her first book The Feeling Balletbody –Building the Dancer’s Instrument According to BalletBodyLogic was published in 2013.
Classical Ballet Technique with Logical Muscular movements
Autere’s work has developed into a personal method of teaching named BalletBodyLogic wherein she takes the body’s own logic into account and advocates that the technique is mechanical and depends on the deeper lying muscles (red muscle fibers), as well as the connective tissues’ internal movements. This work has made out of Mrs. Autere a sought after guest teacher/educator and she has presented her method at ADF (American Dance Festival), at Universities in Finland, Sweden, Holland, Estonia, Latvia, Spain, Portugal, USA and the Opera Ballet School in Oslo, Norway; Riga State Ballet School in Latvia; Riga Contemporary Dance Festival as well as the Riga National Ballet, Estonian National Ballet Company; and at conferences like IADMS (International Association for Dance Medicine and Science), NOFOD (Nordic Forum for Dance Research), TaMeD (TantzMedicinDeutschland), UNESCO/CID.
Teacher’s workshop in adapting ballet technique through body’s internal movements
Mrs. Autere knows the Russian style (Vaganova), the Royal Ballet and the Bournonville School of teaching. In modern dance, she is mainly influenced by M. Graham and José Limon. She teaches floor-barre and techniques of body-control, stretching and strengthening, the deeper laying red muscles fibers in particular. Based in France since 1987, Mrs. Autere was “Professeur Associée” at the Arts Department of the University of Nice from 1997 to 2009. She is the founder and Artistic Director of the Compagnie Ariel and works today as freelance artist, teacher, choreographer and writer. Her first book The Feeling Balletbody –Building the Dancer’s Instrument According to BalletBodyLogic was published in 2013.
About the Teacher
Sarassanan Chaisinlapin was originally from Lamphun, Thailand, and has been trained classical ballet at Chiang Mai Ballet Academy since the age of four. She graduated from Chiang Mai University, BA in English. Sarassanan successfully completed RAD Advanced level in classical ballet, CSTD Awarded level in jazz-ballet and successfully accomplished Martin Rubinstein Award of the CSTD classical major syllabus. Sarassanan is certified in RAD Ballet teaching (CBTS program); assessed in Progressing Ballet Technique (PBT) Junior, Senior & Advanced Programs; and continuing professional development in Vaganova method annually with Mr.Pedro Carneiro.
Sarassanan was first appeared with the Bangkok City Ballet Company during 2009. In 2014, she was promoted to a principal dancer. Her repertoire includes The Nutcracker, Don Quixoté, Coppélia, Raymonda’s Grand Pas, Swan Lake, Grand pas of Flower Festival in Genzano, Sleeping Beauty, La Sylphied, Paquita’s Grands pas and La Bayadère. In addition to classical ballet, she is also active for contemporary dance in many productions of new promising choreographers; such as Drifting into I (2023), Unfolding (2019), Synergy of Love (2019) and etc.
Experiencing herself in teaching ballet (since 2000), participating in many international dance competitions (held in Thailand and overseas) and coaching students for dance competitions; Sarassanan has a great chance to become a Bangkok City Ballet’s Ballet Mistress. She choreographed and directed some works for the company, including Don Quixoté: Divertissement (2023), Paquita’s grand pas classique (2023), La Sylphide (2022), The Nutcracker: a short diverse interpreted version (2021), and Iris (2019). At present, she is a Ballet Mistress and an Assistance Director of Bangkok City Ballet Company.
Age Group – Intermediate group (7-12 yrs)
Workshop Timings – 12-1 pm
Q&A – 1-1.15 pm
Fees – INR 1500
Age Group – Advance group (13+ yrs)
Workshop Timings – 9-10.15 am
Fees – INR 2000
Age Group – Pointe shoes (12+ yrs)
Workshop Timings – 10.30-11.30 am
Q&A – 11.30-11.45 pm
Fees – INR 2500
Age Group – Dance / Ballet Teachers
Workshop Timings – Applicable to all groups
Fees – INR 1000
About the Teacher- Tamara Jane Vile
BA (Hons), PgDip, LL.B, CDE, FARBTA, AISTD
Tamara is Head of Education and Training at the Association of Russian Ballet and Theatre Arts. Tamara studied at the Central School of Ballet, London Contemporary Dance School, UEA and the University of Law. She has danced and choreographed professionally, but her true passion remains in progressing dance education globally. With 30 years teaching experience, Tamara has taught in both grassroots and vocational schools as well as formulating programmes of studies and specifications that have benefited students from beginner to professional levels. Tamara is also an executive examiner and global mentor for both student and experienced teachers, delivering seminars, intensives and lectures covering all aspects of dance pedagogy.
Age Group – Adults & teachers (18+ yrs)
Workshop Timings – 12-1 pm
Fees – INR 1000
Age Group – Students, Parents & Teachers
Workshop Timings – 10.30-11.30am
Fees – FREE
WORKSHOP BY IAIN ROWE (ARTISTIC FACULTY, CANADA’S NATIONAL BALLET SCHOOL)
Learn the foundation of ballet basics with focus on correct technique & movement. With years of experience as a teaching faculty at the National Ballet School of Canada, Mr. Rowe will guide the students in improving their technical skills required for classical ballet along with tips & secrets to being a successful ballet student.
With years of pedagogical knowledge and experience in teaching at one of the best ballet schools in the world and top ballet school in Canada, Mr. Rowe will engage with the Indian ballet teachers, sharing his wealth of knowledge in how to guide a beginners ballet class with focus on a strong technical foundation. His range of experiences include his time as a professional dancer with the Royal Danish Ballet, completing his Master’s Degree at the New York University and successfully attaining his pedagogical certificate through the Teacher Training Program for Former Professional Dancers at Canada’s National Ballet School. This workshop will provide an opportunity for teachers to engage & learn, ask questions and take tips & suggestions to upgrade their pedagogical knowledge as a part of their continued professional development.
About the Teacher
Annemari Autere was born in 1952, in Oslo, Norway. At the age of seven she began classical ballet training in Finland, she subsequently studied four years at the St. Gallen Theater Ballet School in Switzerland. On returning to Norway 1966, she entered the Norwegian Opera Ballet School.
As a thirteen-year member of the Norwegian National Ballet, Mrs. Autere toured Norway, Finland, Central Europe and the United States. In 1974 she was invited by the Royal Ballet of Sweden for a tour in the United States and Canada.
Mrs. Autere knows the Russian style (Vaganova), the Royal Ballet and the Bournonville School of teaching. In modern dance she is mainly influenced by M. Graham and José Limon. Her work has developed into a personal method of teaching named BalletBodyLogic, she takes the body’s own logic into account and advocates that technique is mechanical and depends on the deeper lying muscles (red muscle fibers), as well as the connective tissues’ internal movements. This work has made out of Mrs. Autere a sought after guest teacher/educator and she has presented her method at ADF (American Dance Festival), at Universities in Finland, Sweden, Holland, Estonia, Latvia, Spain, Portugal, USA; Opera Ballet School in Norway, Riga State Ballet School, Arts Printing House in Lithuania, Riga Contemporary Dance Festival, Riga National Ballet, Estonian National Ballet Company, and at conferences like IADMS (International Association for Dance Medicine and Science), NOFOD (Nordic Forum for Dance Research), TaMeD (Tantz Medicin Deutschland), UNESCO/CID.
Based in France since 1987, Mrs. Autere was the Associate Professor at the Arts Department of the University of Nice. Her first book The Feeling Balletbody –Building the Dancer’s Instrument According to BalletBodyLogic was published in 2013.
Classical Ballet Technique with Logical Muscular movements
Autere’s work has developed into a personal method of teaching named BalletBodyLogic wherein she takes the body’s own logic into account and advocates that the technique is mechanical and depends on the deeper lying muscles (red muscle fibers), as well as the connective tissues’ internal movements. This work has made out of Mrs. Autere a sought after guest teacher/educator and she has presented her method at ADF (American Dance Festival), at Universities in Finland, Sweden, Holland, Estonia, Latvia, Spain, Portugal, USA and the Opera Ballet School in Oslo, Norway; Riga State Ballet School in Latvia; Riga Contemporary Dance Festival as well as the Riga National Ballet, Estonian National Ballet Company; and at conferences like IADMS (International Association for Dance Medicine and Science), NOFOD (Nordic Forum for Dance Research), TaMeD (TantzMedicinDeutschland), UNESCO/CID.
Teacher’s workshop in adapting ballet technique through body’s internal movements
Mrs. Autere knows the Russian style (Vaganova), the Royal Ballet and the Bournonville School of teaching. In modern dance, she is mainly influenced by M. Graham and José Limon. She teaches floor-barre and techniques of body-control, stretching and strengthening, the deeper laying red muscles fibers in particular. Based in France since 1987, Mrs. Autere was “Professeur Associée” at the Arts Department of the University of Nice from 1997 to 2009. She is the founder and Artistic Director of the Compagnie Ariel and works today as freelance artist, teacher, choreographer and writer. Her first book The Feeling Balletbody –Building the Dancer’s Instrument According to BalletBodyLogic was published in 2013.
About the Teacher
Sarassanan Chaisinlapin was originally from Lamphun, Thailand, and has been trained classical ballet at Chiang Mai Ballet Academy since the age of four. She graduated from Chiang Mai University, BA in English. Sarassanan successfully completed RAD Advanced level in classical ballet, CSTD Awarded level in jazz-ballet and successfully accomplished Martin Rubinstein Award of the CSTD classical major syllabus. Sarassanan is certified in RAD Ballet teaching (CBTS program); assessed in Progressing Ballet Technique (PBT) Junior, Senior & Advanced Programs; and continuing professional development in Vaganova method annually with Mr.Pedro Carneiro.
Sarassanan was first appeared with the Bangkok City Ballet Company during 2009. In 2014, she was promoted to a principal dancer. Her repertoire includes The Nutcracker, Don Quixoté, Coppélia, Raymonda’s Grand Pas, Swan Lake, Grand pas of Flower Festival in Genzano, Sleeping Beauty, La Sylphied, Paquita’s Grands pas and La Bayadère. In addition to classical ballet, she is also active for contemporary dance in many productions of new promising choreographers; such as Drifting into I (2023), Unfolding (2019), Synergy of Love (2019) and etc.
Experiencing herself in teaching ballet (since 2000), participating in many international dance competitions (held in Thailand and overseas) and coaching students for dance competitions; Sarassanan has a great chance to become a Bangkok City Ballet’s Ballet Mistress. She choreographed and directed some works for the company, including Don Quixoté: Divertissement (2023), Paquita’s grand pas classique (2023), La Sylphide (2022), The Nutcracker: a short diverse interpreted version (2021), and Iris (2019). At present, she is a Ballet Mistress and an Assistance Director of Bangkok City Ballet Company.
Age Group – Intermediate group (7-12 yrs)
Workshop Timings – 12-1 pm
Q&A – 1-1.15 pm
Fees – INR 1500
Age Group – Advance group (13+ yrs)
Workshop Timings – 9-10.15 am
Fees – INR 2000
Age Group – Pointe shoes (12+ yrs)
Workshop Timings – 10.30-11.30 am
Q&A – 11.30-11.45 pm
Fees – INR 2500
Age Group – Dance / Ballet Teachers
Workshop Timings – Applicable to all groups
Fees – INR 1000
About the Teacher- Tamara Jane Vile
BA (Hons), PgDip, LL.B, CDE, FARBTA, AISTD
Tamara is Head of Education and Training at the Association of Russian Ballet and Theatre Arts. Tamara studied at the Central School of Ballet, London Contemporary Dance School, UEA and the University of Law. She has danced and choreographed professionally, but her true passion remains in progressing dance education globally. With 30 years teaching experience, Tamara has taught in both grassroots and vocational schools as well as formulating programmes of studies and specifications that have benefited students from beginner to professional levels. Tamara is also an executive examiner and global mentor for both student and experienced teachers, delivering seminars, intensives and lectures covering all aspects of dance pedagogy.
Age Group – Adults & teachers (18+ yrs)
Workshop Timings – 12-1 pm
Fees – INR 1000
Age Group – Students, Parents & Teachers
Workshop Timings – 10.30-11.30am
Fees – FREE
Launched in 2018 December, GIBC was & still is India’s most exclusive ballet competition.
I choose to participate in classes, performances, workshops, and other activities at Great Indian Ballet Competition of my own free will and certify that I am in proper physical condition to take part in such activities.
Release
By signing this document, I release Great Indian Ballet Competition and their directors, owners, staff, employees, volunteers, associates (collectively referred to in this document as “GIBC”) from any liability or claim that I or my representatives may have against GIBC with respect to any bodily injury, personal injury, illness, death, or property loss or damage that may result from my participation at GIBC.
I voluntarily release and forever discharge and hold harmless GIBC from any and all claims or demands for damages, loss of services, costs and expenses, injuries, attorney fees, and any other call for reparation from any and all injury to me or my property arising in any way from my participation in dance classes, camps, intensives, workshops, performances, troupes, the use of GIBC equipment or facilities, and any activities associated with GIBC.
Risks
I understand that there are risks of physical injury associated with, arising out of, and inherent to dancing. These risks include the potential for slips and falls, sprains, strains, dislocations, soft tissue injuries, musculoskeletal injuries, podiatric conditions, and other risks not specified here.
Understanding these risks and the potential for others not listed, I agree to personally accept and assume all of the risks present in my participation at GIBC. My participation at GIBC is entirely voluntary, and I choose to participate in spite of the risks.
Medical Treatment and Insurance
I understand that GIBC does not assume any responsibility for or obligation to provide financial or other assistance in the event of injury or illness, including but not limited to medical, health, or disability insurance or support. I authorize GIBC to obtain necessary medical or dental treatment, including first aid, ambulance transport, hospitalization, or such other care necessary for my health and welfare in an emergency. I release and discharge GIBC from any claim which may arise on account of any first aid, treatment, or service rendered in connection with my participation in GIBC activities or with the decision by any representative or agent of GIBC to consent to medical or dental treatment on my behalf in an emergency. I understand that GIBC does not carry or maintain health, medical, dental, or disability insurance coverage for any participant. I agree to take responsibility for full payment of any emergency medical or dental costs related to my GIBC participation regardless of whether I have insurance coverage.
Photographic Release
I understand that GIBC may take photo and video recordings of me during my participation in GIBC activities. I convey to GIBCfull rights and interest in these recordings. I understand such recordings may be used in advertising or other published materials, physical or virtual.
