Welcome to Blue Magic Dancing.
Instructor - Sur'yv'Ine'Krvast'yvv 'Yina'
Open to - Any student with the inclination.
Requirements - Physical fortitude, agility, stamina, predisposition to Blue magic.
This was posted on the door of the studio that had actually been built to Yina's specifications for the Institute. Upon opening the door the entrant would see a large, open room with a simple wooden floor that was well sanded and smooth to avoid splinters. Mirrors were on every wall, to enable a student to observe themselves from every angle and ensure proper stance. It was obvious where the front of the room was because there was a lone brass pole on a slightly raised dais so the rest of the class would have a good view of the instructor.
The rest of the studio consisted of fifteen strategically placed poles so each dancer would have room to work without injuring their neighbor, and also have floor space to work with freely. The room was lit by several large skylights during the day that could be shuttered for atmosphere purposes. When the skylights were not providing light, illumination was provided by large candelabras in the corners, large candlelit chandeliers and sconces placed along the mirrored walls so the light was reflected in a diffused glow around the room. It could go from bright and airy to romantic and intimate in moments, something she had been adamant about.
The west and south adjoining walls were lines with lavish, comfortable (and easily cleaned) cushions for when they would hold practice with volunteers. This would be for live performances and exams. Practice would be held with other students from within the Institute, and exams would be held with professors as they had more experience and restraint and would provide students a challenge.
http://img26.imageshack.us/img26/8004/kirndance.jpg
Instructor - Sur'yv'Ine'Krvast'yvv 'Yina'
Open to - Any student with the inclination.
Requirements - Physical fortitude, agility, stamina, predisposition to Blue magic.
This was posted on the door of the studio that had actually been built to Yina's specifications for the Institute. Upon opening the door the entrant would see a large, open room with a simple wooden floor that was well sanded and smooth to avoid splinters. Mirrors were on every wall, to enable a student to observe themselves from every angle and ensure proper stance. It was obvious where the front of the room was because there was a lone brass pole on a slightly raised dais so the rest of the class would have a good view of the instructor.
The rest of the studio consisted of fifteen strategically placed poles so each dancer would have room to work without injuring their neighbor, and also have floor space to work with freely. The room was lit by several large skylights during the day that could be shuttered for atmosphere purposes. When the skylights were not providing light, illumination was provided by large candelabras in the corners, large candlelit chandeliers and sconces placed along the mirrored walls so the light was reflected in a diffused glow around the room. It could go from bright and airy to romantic and intimate in moments, something she had been adamant about.
The west and south adjoining walls were lines with lavish, comfortable (and easily cleaned) cushions for when they would hold practice with volunteers. This would be for live performances and exams. Practice would be held with other students from within the Institute, and exams would be held with professors as they had more experience and restraint and would provide students a challenge.
http://img26.imageshack.us/img26/8004/kirndance.jpg