In ballet class, music is integral to each combination, and dancers lucky enough to have a live accompanist know how much more inspiring it is than a CD player. Mami Hariyama, a 23-year-old musical prodigy who tickles the ivories at some of NYC’s top studios, brings a unique combination of talents to her craft.

A TALE OF TWO TALENTS: A former ballerina, Hariyama danced her way to the Kobe International Ballet Competition in her native Japan, as well as the Leningrad State Ballet in Russia, before several injuries sidelined her at age 18. During her recovery, in Japan, Hariyama, who had studied the piano since age 5 (both her parents are musicians), filled in last-minute for a class pianist. Since then, she has accompanied teachers in Russia—including those at the elite Vaganova Ballet Academy—and more than 50 teachers in and around NYC at studios such as Ballet Academy East and Steps on Broadway.

KEEPING PACE: Hariyama works alongside teachers to make class continuous. “[Live music] motivates dancers and helps the flow of the class so the teacher doesn’t have to stop instructing to search for the right CD for the situation,” she says.

SKILLS NEEDED: Besides nimble hands and a well-trained ear, accompanists must have the ability to improvise, memorize pieces of music and use their imagination. In a fast-paced class, taking the time to flip through scores for the right piece of music can be frustrating for everyone in the room.

BARRES TO BARS: In addition to musical ability and technique, accompanists possess an understanding of class structure. “Music for ballet is very different than what you’d hear at a piano concert,” says Hariyama. “It’s important to understand the movements of ballet and observe the teachers in the class.” An accompanist must also be able to keep tempo with each exercise as the teacher is instructing.

TIME IN: As a freelance accompanist, Hariyama works 7 days a week. “Every day is a different schedule and a different location,” she says.

KEY MOTIVATION: “When a student or instructor gives me some nice words after class, it makes my day,” says Hariyama.

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A Letter from the Editor in Chief

Hi, dance friends. It is a strange time to be a person in the world, and an especially strange time to be a dancer. As the dance community faces the coronavirus crisis, a lot of you are coping with closed studios, canceled performances and competitions, and a general sense of anxiety about how your world will look going forward.

Yes, dancers are super resilient, and there's been a lot of inspiring community-building happening. #LivingRoomDances and Instagram dance parties and virtual ballet classes with the pros are wonderful. Dance can, and should, be a bright spot in the darkness. But that weird, empty feeling you have? It might be grief. The loss of the certainty of daily class, the loss of the promise of that big end-of-year performance—that's real. The dance studio has always been a safe place; it's especially hard not to have that outlet now, when you need it most.

We're here for you. We—and our friends at Dance Magazine, Pointe, Dance Teacher, The Dance Edit, and Dance Business Weekly—are doing our best to document the hurdles facing the dance industry, and to advocate for dancers in need. We're developing more online content that will help you maintain and improve your technique while you're at home, and process the mental and emotional fallout of all this upheaval. (You can keep up with the latest stories here.) And we're still making our print magazine. We have issues planned and shot, full of great dance stories and beautiful photos. We're not going anywhere.

We want to hear from you. Talk to us. Or dance to us. Or both. We won't stop moving, and you shouldn't, either.

Margaret

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