Ballet TeacherIn 2004, having returned to Ireland from years as a professional Ballerina in Russia, Monica established her first Ballet School in Dublin, which became The Academy Of Russian Ballet in 2005. Monica has a teaching diploma and her ten years of of training and performing around the world with Perm State Russian Ballet company makes her one of Ireland’s most qualified ballet teachers able to train students to professional standards. In Monica Loughman’s philosophy of teaching, development of the core or torso is the main prerequisite of free bodily control in dancing. Port de bras and the basics of ballet technique are important for the overall coordination of steps and jumps. A focus on strengthening the body with early stage students is vital to the development of aplomb.
One might think that this discipline and uniformity is spent through years of perfecting technique at the barre and some ballet teachers are known for this. But the great teachers understand that dancing is in the mind and the mind does not develop while standing at the barre. It develops during movement and through stimulation and by being stretched. Therefore, nearly all of her classes are different characterised by the disrupt – new choreography that the dancer has never seen on this day and a new technique that he or she has never heard of on that – and all this in the context of a grand plan with result that the student in the end can dance in a way that enthralls and inspires their audience.
The importance of the pedagogue in a ballerina’s life [haloe_quote content=”You give your attention and efforts to your pedagogue. And thank God, not one day in my career was I without a pedagogue. I consider the pedagogue to the be the foundation; they play the main role in a ballerina’s career.” author=”Tatiana Terekhova”]
Anatomical intelligence respects the differences between dancers. In any class of students or studio of professional there are different anatomical types as well as personalities and physical capabilities. One pattern does not fit all and the path to creating one beautiful dancer is not the same as for the next. Many teachers can only work with one type of body but Monica Loughman’s approach tailors training to the individual despite the context of seeking uniformity that is the essence of the art form. In the same way as a beautiful artwork like Claude Monet’s Water Lilies achieves perfection through consistency of brush stroke with the result of an overall beautiful and inspiring result, it is a single unified style that gives breath, emotion and life to the dance. It is an art form built on the play of muscles and it’s teaching is routed in the mechanics of a dancing body. Efficiency, power and beauty with three dimensionality lie at the core of her students technique. Solidity, not as a static inanimate object, but as uniform movement, technically perfect, accurate and deliberate is a primary characteristic. In these fundamental attributes of classical ballet lie it’s secrets of accessibility and appeal to the audience.