CAS CONNECT 2016

T his semester, Oklahoma State University’s Department of Theatre is turning a new page: Students will finally be able to earn a dance minor, an opportunity that will do wonders for aspiring performers and educators, as well as possibly open doors for future changes in OSU’s College of Arts and Sciences. Powered by department head and professor Andrew Kimbrough and adjunct instructor of dance Alexandra Bergman, the program will be on par with those offered by nearby universities due to this fresh emphasis on the arts. The program is open to students just beginning their undergraduate journeys as well as those wanting to broaden and further develop their artistic knowledge and skills. Because the program doesn’t require an audition process or previous experience, it has already set itself apart from similar programs. A year ago, OSU began offering dance classes such as modern and ballet — and to say they are a hit is a bit of an understatement. “Every course has been filled to capac- ity, and students from every college on campus have enrolled,” Kimbrough says. “And this was before the minor was announced. Clearly, students have the desire to continue their education in dance even though they are majoring in other subjects.” A key player in the OSU dance world is Bergman, who came from Tulsa Ballet with an outrageously impressive dance career. “I cannot overstate just how significant Alexandra has been for dance at OSU,” Kimbrough says. “Her background and expertise are not easy to come by, even at the university level. The students have loved her and know that, in her, they have a rare treasure.” Centered on fundamentals and flexi- bility, Bergman’s teaching methods are sound and effective, formulated in such a way that they can be successfully imple- mented with all levels of dancers. She tends to follow the Russian Vaganova method — a ballet approach, created by Russian dancer and pedagogue Agrippina Vaganova, that fuses components of traditional technique-driven French style with the strength, artistry and musical proficiency of Italian technique. She also improvises as needed to accommodate students. “I want my students to walk away with the knowledge of correct working habits in the fundamental exercises used in ballet and modern classes,” Bergman says. “This knowledge will allow them to continue to improve while keeping their bodies free from injury in any future dance classes they take.” Full of encouragement, creativity and challenges, Bergman’s classroom is a place where students can focus on them- selves, the art and the two combined. Bergman has high expectations, as most of what she knows and has lived is every- thing ballet and modern. “I would say that Alexandra’s teach- ing method is challenging but incredi- bly helpful,” says Scarlett Cox, a recent OSU Spanish program graduate who took Ballet II as an elective. “She’s a strict teacher but also very understanding and patient. I would definitely recommend her to anyone wanting to take ballet. Her passion for the art is very obvious and contagious!” For students enrolled in ballet, a day in the classroom typically consists of a well- rounded warm-up centered on stretch- ing, barr é, and center and across-the-floor exercises. Bergman performs alongside the students — with exemplary tech- nique — and often walks around the room providing one-on-one critiques and tips. Students concentrate and work dili- gently, improving and broadening their overall sense of technique and artistry while performing to a selection of tasteful, complementary music. Bergman’s methods center on help- ing students learn about and connect with their bodies, as well as understand rhythm, timing and efficiency. Toward the end of the session, the class may occa- sionally learn, review and/or perform a routine or two. The structure of each class is always the same, but the exer- cises and combinations are ever-chang- ing within the classes’ fundamental framework. “I want students to leave with a greater appreciation for dance as an art form,” Bergman says. “I want students to under- stand the discipline and high expectations necessary to be a professional dancer, and I want them to see those results on stage when they attend live performances by professional companies. I also want them PHOTO COURTESY OF TULSA BALLET