Philosophy Facility Faculty
About SCBD
Our Philosophy
Our Facility
Our Faculty
The training we provide is based on the philosophy of learning the “basics” first. The children, beginning in Level 1, always do barre work first. We keep this age appropriate in length and seriousness. In this way they learn the discipline of delayed gratification. They must learn the proper technique in order to do the “cool tricks” in dance. We believe it is equally important to reward their hard work and discipline at the barre with many fun steps and leaps in the center. The joy children get from flying across the room is why they dance. We begin concentrating on the Vaganova method of training with our level 3, approximately ages 9-11, and continue up through our level 9 dancers with this technique. We also provide Contemporary, Jazz, Lyrical, Tap, Funk Tap and Hip Hop classes either in combination or as additional options depending on the age and level of the student.
We feel it is extremely important to give young dancers an opportunity to perform on stage, therefore we provide a “low key” recital at Hoyt Sherman Place Theater. Our recital fee is low and includes the skirt/tutu and hair decoration the children wear. The rehearsals are kept to a minimum and the recitals are relatively short in length. The small children are seated in the audience with parent volunteers so they have the opportunity to watch the other dances. They are taken backstage for their performance then they return to their seat with their class. In this way they learn to be performers as well as good audience members and they do not get bored while they are waiting for their turn to dance.
This “low key” style of recital may not be for everyone. We do not have flashy costumes. Our focus is showcasing the young dancers and what they have learned. By keeping costumes and the technical aspect of the recital minimalist but classy, we keep the time commitment and monetary commitment low. The children feel special without being stressed and thus have a great time performing for their family and friends.
School of Classical Ballet and Dance is consistently working to provide children the best training possible. As our school grows in size, we re-evaluate class sizes to keep teacher/student ratios age appropriate. We will always place children in levels based on technical and emotional readiness not by age. Our commitment to training young dancers properly is paramount. Children will not be placed “on pointe” before they are strong enough and body placement is correct. Our level placements are evaluated constantly throughout the year and adjustments may be made in the middle of the year.
Our #1 goal is to teach children to dance in a positive, fun atmosphere. You will know your child is learning.
School of Classical Ballet and Dance provides five, spacious, bright, fully equipped studio spaces. We go the extra mile to protect our students by providing sprung floors specifically designed to absorb the impact countless hours of jumping can have on a dancer’s body. Our sprung floors combined with professional Marley flooring and expansive studios give our students the space, grip, and bounce they need to train without distraction.
What Makes A Dance Studio State of the Art?
See a full gallery of pictures of our five spacious studios and waiting areas.
Lori Grooters - Co-Owner
Lori Grooters co-owner of SCBD and Ballet Mistress for Ballet Des Moines, she is a former soloist with Tulsa Ballet, Ms. Grooters retired from performing following the 2002-2003 season and became Assistant to the Principal of the Tulsa Ballet Center for Dance Education. She joined Tulsa Ballet in 1997 after three years dancing with Ballet Iowa. Ms. Grooters has also performed with The American Folk Ballet during the summers of 1995 and 1996. Lori came back to Des Moines with her husband Serkan in 2004 to teach at SCBD and raise their daughter Emma and son Uzay. Ms. Grooters’ training prior to her professional career included study with Ballet Iowa, Boston Ballet, School of American Ballet, Joffrey Ballet, Burklyn Ballet Theatre, and Ballet Aspen. Her teachers growing up in Des Moines were Lynn Andlaur, Irina Vaselini-Uralsky, Konstantin Uralsky, Kennet Oberly and Richard Powell.
While performing with Tulsa Ballet, she danced numerous roles in both classical and contemporary ballets, including those of Kitty in “Anna Karenina”, Nichette in “Lady of the Camellias”, the Cowgirl in “Rodeo”, Red Girl in “Celts” and the Rum and Coca-Cola Girl in “Company B”, as well as Pas de Quatre and Four Little Swans in “Swan Lake”. She has also performed such works by world renown choreographers such as Rassemblement, Jardi Tancat, NA Floresta, Death and the Maiden, Fingerprints, and Like a Samba to name a few. She toured Portugal in 2002 with the Tulsa Ballet and came out of retirement in 2005 & 2006 to perform the Sugar Plum Fairy with her husband Serkan Usta in Ballet Des Moines’ The Nutcracker and 2006 New Beginnings. She performed as a guest dancer in prima ballerina, Daniela Buson’s retirement Gala performance in 2006 to dance “Flower Festival” with Serkan. Lori has performed in Ballet Des Moines’ spring shows every year since then. She has also set the 2nd Act of “Giselle”, “Paquita” and has choreographed “Stars and Stripes” and other contemporary works on BDMll dancers. Most recently she choreographed Ballet Des Moines’ “Peter Pan”, “The Nutcracker”, “The Wizard of Oz”, “Snow White”, and “Cinderella” with her husband Serkan. She also enjoyed performing the roles of Dorothy, Snow White and Cinderella. Ms Grooters has also enjoyed choreographing many contemporary solos and group numbers on her students for YAGP as well as for other competitions in which many of them have won awards and scholarships. One of her proudest moments as a ballet instructor was at YAGP 2012 regionals in Chicago, when SCBD tied with The Joffrey Academy for Outstanding School Award. She is also very proud of her students that have continued on in dance careers all over the world.
Serkan Usta- Co-Owner
Serkan Usta co-owner of SCBD and director of Ballet Des Moines Serkan was born in Istanbul, Turkey, Serkan received his early classical training at the Ballet Conservatory in Istanbul. Upon moving to the United States in 1991, he furthered his dance education at the Kirov Academy of Ballet in Washington D.C. and School of San Francisco Ballet. Mr. Usta is a recipient of the Hellman’s Scholarship Award and was featured on the cover of the September 2002 issue of Dance Magazine. Serkan has been featured in the roles of Champion Roper in Rodeo, Dartanian from Three Musketeers, Mercutio in Romeo and Juliet, Basilio in Don Quixote and Prince Albrecht in Giselle. His performing experience also includes roles in Cmpany B, Rosalinda, La Fille Mal Gardee, Troy Game, and Prawn- Watching. He has also performed works by Nacho Duato such as Coming Together, Arenal, Duende, Na Floresta and Rassemblement. Serkan danced the role of the Cavalier in Ballet Des Moines’ The Nutcracker in 2004, 2005 and 2007. In July 2005, Serkan joined Ballet Des Moines as Artistic Director. His choreography with BDM consists of “Kele Mandi”, “Primavera”, “Bubbles”, “Bir Demet Yasemen”, “Padam”, “Awakenings” and “Death & the Maiden”. Most recently he choreographed for Ballet Des Moines with his wife Lori Grooters, “Peter Pan” in 2016 “The Nutcracker” in 2010, the “Wizard of Oz” in 2012, “Snow White” 2013 and “Cinderella” in 2014.
School of Classical Ballet and Dance Has an Extensive Faculty
Our faculty is comprised of teachers from around the world as well as home grown and trained right here at SCBD. Backgrounds vary among our teachers but their passion to train the next generation of young dancers is a common thread through us all.