Veronica Jarboe

Every time I get the chance to work with Carinne, she leaves me in awe. She never fails to bring out the best in every dancer, and I always feel like a better dancer when leaving the studio after working with her. She is an inspiration and has inspired me in my dancing in so many countless ways. Congratulations Carinne!

-Veronica Jarboe

I Have Been Struck By The “Bindasizer”

“Stub and Point.”  These were the first two words to come out of Carinne Binda’s mouth any given day she would teach “The Sacramento Ballet’s” company class.  Never, “Hello dancers” or “Let’s start,” just “Stub.”  When I was facing the barre in first position I always got the sense she was surveying my body from head to toe.  I felt this was her silent way of saying, “You are going to work very hard for the next two hours and fifteen minutes, starting with your feet.”  As you could gather, her ballet classes were long and grueling.  Someone I knew had come to view Carinne’s company class prior to a performance, and they expressed they were exhausted simply by watching the class in session.  She had other key words that she would repeat during her tiresome classes.  A few of her favorites were, “Bing, one, up, and go.”  They may not mean much to just anyone, but to a ballet dancer in her presence, it gave a resounding motivation for all to work harder.   Her instruction to “point your feet” was also conveyed often.  When the dancers would execute a tendu, or achieve the height of a grand jete, or push through a corps de ballet rehearsal for women in the company, you would most likely hear Carinne project these three relentless words, “Point your feet!”

            Having been ‘bindasized’ I will forever be indebted to Carinne mostly for her ability to transfigure my feet.  All the top dancers of the world have the best feet, are expected to have the best feet in order to show a good line, and in my opinion, is partly what makes them famous.  No one in the history of ballet had been able to help me transform my feet like Carinne had, all without going to an extreme such as having surgery performed on the feet.  From the first class I took to the last Carinne was besotted with the process of making my feet better.  Her diligence in the classroom setting, the rehearsal process, and overall obsession with good feet provoked my desire to please her instructive wishes. 

Although I knew the most important things for reaching a professional level in ballet are great talent, dedication, and passion, good feet are also an important part to a ballet dancer’s success.  When I served two years as an apprentice with “The Sacramento Ballet,” I never once thought about my feet being the flaw on my body that could possibly keep me from pursuing my dream.  However, I think my strong desire to be a part of the company and her investment in me is what made us a good match; and we both benefited with the results.

By the way, have you ever seen Carinne point her feet?  Ask her next time you see her, because they are magnificent. 

Overall, she always knew how hard I was working, and likewise I knew how much I had to keeping plugging away at improving the arch in my foot, alongside many other things.  But one day, I think it might have been a Tuesday during one of her demanding half hour point classes, she highlighted me in front of all the company women.  At this moment she shockingly complimented me on how much my feet had improved over the past two years.  At this time I was an apprentice, and as one could imagine I was overjoyed because I had spent every day in the studio with her overseeing me painstakingly working my feet in hopes to get a company position.

In my opinion, being ‘bindasized’ means that Carinne had been able to physically change something about someone as a dancer that will help carry one through their dancing career.  Whether one stayed with “The Sacramento Ballet,” or pursued other avenues of their dancing career, Carinne was a major factor, contributing something good that is recognized by others.  My example was my feet.  For others it may have been their turn out or the way they used their upper body.  Over the five years including one season of sporadic guest appearances with the company I had seen dancers being examined by her scathing eye and endless constructive criticism.  Safe to say we all survived and shined at our next endeavors in life thanks to her.

Carinne, you are an amazing teacher and artistic director, thank you so much for everything you have taught me over the years.

Sincerely,

Ilona Pociunas

Katie Rose Cunin and "the power of being Bindasized"

I was 14, in the summer intensive, and all of level A was in the small studio for pointe technique. That's when Miss Binda, sitting cross-legged beside the speaker (those feet!), said with a sharp flip of the wrist, "You know, fouettés should really start with a triple."

Nervous laughter from the room.

"They must. Do it. Go. Go. GO. Group one, now."

Hesitant fourth positions, leotard fixing, looking around... "Go. GO. Preparation, seven, EIGHT-!"

And you know what? Everyone in that room did a triple.

And once I knew I could begin with a triple, I never stopped beginning my fouettés from a triple.

Carinne, thank you for seeing in your dancers what they do not yet see in themselves. In so many ways, I am forever indebted to the power of being Bindasized.


~ Katie Rose Cunin