Research

Inquiry Topics and Questions

Brainstorming?

tap vs. ballet
Miss M's teachers in Chicago
the college that she attended (University of Cincinnati)
learning about business
the companies that she danced at
teaching methods
dancing at GAB
Ms. Iris -- the founder of GAB
taking on an executive role
the various roles of dancing, teaching, and managing/executing
GAB folding
Miss Gina and Mr. Janusz
Miss M.'s life philosophy
regrets -- beliefs about them
the journey and not the destination
the knothole in a piece of wood
artistic community in Chicago
artistic community in GA
dropshipping business
"I never saw another butterfly" (the ballet)

"everybody is wise"
the role of a teacher/mentor in my life
specifics and technicalities of ballet
choreography
classical ballets, esp. Swan Lake

The topic that I chose was the one about the history of the Georgia Ballet, where Ms. M spent many years and where I first met her. I realized that many of the other topics I generated during the initial brainstorm were connected to this one, and it was the only one that I was able to generate 20 questions for:

Why did Ms. Iris found Georgia Ballet?
When did Ms. Michele come?
What ballets did she dance?
When did she transition into an executive role?
Why did she start teaching?
When did she stop dancing?
Why did she stop dancing?
When did GAB move into the new building
When did Ms. Gina come?
Why did Ms. Gina come?
What was Ms. Gina's history?
What did Ms. Gina do for the school?
Did Emilie start dancing at GAB?
What kind of training did GAB offer?
What did Ms. Gina see in GAB?
What did Ms. Iris die?
What role did Mr. Janusz fill?
Was there a goal they were working towards?
Why did it end the way it did?
What was special about GAB?
What kind of repertoire did the company perform?
How did they recruit dancers?
Who were some of their dancers?

Selected topic: The Georgia Ballet -- the place where Ms. Michele danced, taught, and directed for nearly 20 years, as well as the place where I first met her.

What was the history of the company and school?
How did it end?

Sources in Conversation

search term brainstorming:

direct:

the school at the Georgia Ballet
the company at the GAB
the company's repertoire
Ms. Iris
Ms. Gina
Mr. Janusz

indirect

Serenade
Swan Lake
the Hamburg Ballet
John Neumeier
George Balanchine

oblique

arts/dance in society
dance education in the U.S.
the need for ballet/arts
ballet in society
philosophy of teaching
philosophy of dance
what ballet does for you
pedagogy of teaching
relevance of ballet today

annotated bibliography:

Oliviero, Helena. “MAKING A DIFFERENCE: Georgia Ballet Raises the Bar: DanceAbility Helps Young Cancer Survivor Dance, Thrive. Instruction Is Free for Special Needs Children.” The Atlanta Journal-Constitution (Atlanta, GA), 2013. EBSCOhost, login.proxy.kennesaw.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsggo&AN=edsgcl.323330182&site=eds-live&scope=site.

In this article for the Atlanta Journal Constitution, Helena Oliviero provides a description of DanceAbility, an outreach program for special needs children that was a major part of the Georgia Ballet’s contribution to the community. She describes in particular the experience of a little girl with cancer, as well as the classes themselves. I intend to use this article to emphasize the importance of community outreach at GAB, and my point about ballet in society at large.

Perry, Cynthia Bond. “DANCE: ‘Serenade’ Is Swan Song: Couple Leave Georgia Ballet at Season’s End. Artistic Leaders Will Leave for Hamburg Ballet.” The Atlanta Journal-Constitution (Atlanta, GA), 2012. EBSCOhost, login.proxy.kennesaw.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsggo&AN=edsgcl.305348974&site=eds-live&scope=site.

Cynthia Perry’s article offers vivid descriptions of the Georgia Ballet’s performance of George Balanchine’s Serenade. This was the company’s final performance under artistic director Gina Hyatt-Mazon, and it highlights why this particular ballet was so significant. Additionally, Perry remarks upon the unique culture of trust and honesty that was cultivated at the GAB under Ms. Mazon, which is an element I wish to emphasize in my own paper. Additionally, I watched this very performance from backstage before going on stage to perform myself later that night, and I cherish these memories, which give me a special connection to this article.

Powell, Kay. “Obituaries: Marietta: Iris Hensley, Founded Georgia Ballet Company.” The Atlanta Journal-Constitution(Atlanta, GA), 2003. EBSCOhost, login.proxy.kennesaw.edu/login?url=http://search.ebscohost.com/login.aspx?
direct=true&db=edsggo&AN=edsgcl.107145055&site=eds-live&scope=site.

This obituary for Miss Iris, written by Kay Powell, is a testament to the work that the former did to create the GAB, as well as to the special person that she was. It also includes quotes from Ms. Mazon, as well as Ms. Michele herself. As well as providing Miss Iris’ training background, it offers insight into who she was as a person, and how her unique passions enabled her to create such an incredible arts institution in Marietta, GA. I think that this article will be useful to provide background into the founding of the company as well as the indefinable spirit that it possessed.

Rinehart, Lisa. “Secrets of Serenade.” Dance Magazine, vol. 84, no. 9, Sept. 2010, pp. 38–40. EBSCOhost, login.proxy.kennesaw.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=53067253&site=eds-live&scope=site.

Lisa Rinehart’s article for Dance Magazine is a description of the historical background, influence, and significance of George Balanchine’s Serenade. It describes a rehearsal with acclaimed dancer Darci Kistler, Balanchine’s original choreographic process, and the pure magic of Serenade onstage for dancer and audience alike. In addition, it quotes multiple Balanchine stagers, which provides further insight into the spirit of the ballet. Serenade has been significant for me personally as well as in the ballet world at large, and I hope to use quotes from this article in order to highlight the power and witchcraft not only of this ballet but of ballet in general.

Sucato, Steve. “The Georgia Ballet.” Pointe Magazine, vol. 7, no. 2, Macfadden Performing Arts Media, LLC., Apr. 2006, p. 32, https://login.proxy.kennesaw.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ulh&AN=20336510&site=eds-live&scope=site.
Steve Sucato’s article details the progress that the Georgia Ballet made after the passing of their founder, Iris Hensley. It offers a short summary of the institution’s founding, as well as the advantages and improvements that the Mazons brought from Germany; particularly, it emphasizes the role in community outreach that the company played, first under Miss Iris and then under Miss Gina. The article has several quotes I intend to use in my paper, along with solid background information about GAB that will help to provide context.

Turk, Mariko. "Girlhood, Ballet, and the Cult of the Tutu." Children's Literature Association Quarterly, vol. 39, 2014, pp. 482-505. Project MUSE, doi:10.1353/chq.2014.0065
This article by Mariko Turk examines ballet from a sociological perspective, particularly as it contributes to the “princess cult” that Turk describes in the essay. She makes the argument that ballet, particularly as represented in children’s literature, can be a powerful tool to deepen and enrich our understanding, and how it can challenge the stereotypical feminine ideal. Turk illustrates this argument with examples from three children’s books: Angelina Ballerina, Olivia, and Ivy and Bean. While my paper is not about children’s literature or gender roles, this analysis is useful because it illustrates the important role that ballet can play in modern society. (theoretical source)

sources in conversation:

For this assignment, I chose to create a Padlet page because it made the chart easier to visualize and organize without it getting too messy. The link is here: https://padlet.com/emscath/4aext2arkxqi

comparison and contrast:

Most of my sources were not academic and the majority dealt with real-life events rather than theories and claims. For this reason, it was quite difficult to come up with contrasts between the theoretical points and the documented events. However, I would label the chart that I eventually created as a conversation that is primarily amicable, composed of claims and evidence rather a comparison/contrast. The claims that were made about ballet from a sociological perspective in my theoretical article were proved concretely through the microcosm of Georgia Ballet (GAB) under Miss Iris and later Miss Gina and Ms. Michele.
The key idea of Turk’s article was that rather than simply contributing to the “cult of the tutu,” ballet can be used as a tool to enrich the lives of people, and especially young girls. This sociological perspective of ballet as a powerful cultural influence is the lens through which I plan to view the rest of the essay. The remainder of the sources that I collected all acted as evidence for this claim as GAB actualized it. For example, Turks said that ballet can be a mode of empowerment for young girls; GAB used the DanceAbility program in order to empower children with special needs to pursue their dreams, educate themselves physically, and feel beautiful. Turks described ballet’s influence on creativity and imagination, and Balanchine’s Serenade is the epitome of a ballet that elevates the viewer to a higher plane of existence through the magic that is created on stage.