by RENEE PATRICK Cascade A&E Editor
It was the love of dance that drove Carolyn Brant to found the Terpsichorean Dance Studio & Company almost 40 years ago, and through her passion generations of dancers have come to exemplify the spirit of Terpsichorean.
Named for Terpsichore, one of the nine muses of Greek mythology meaning “delight in dancing,” the studio has grown from its humble beginnings in the basement of Brant’s home, to a beautiful 2,000 square foot space on Newport Avenue.
“I had danced all my life,” Brant explained, “and when I moved to Bend there were no dance studios.” She drew on her years of private study in Eugene and a college career in dance, choreography and dance education at Stephens College in Missouri and the University of Oregon, to open the doors of Terpsichorean in 1975.
Brant had six students for her first class, two of them her own children. “I had a little area down in the basement of the house we lived in, and I started teaching there,” she explained. “The next year I had probably 12 or 15 students, and every year after that it kept growing.”
She continued teaching in her remodeled garage for 20 years before buying the property on Newport Avenue in 1995. “My big success was finding that property at a perfect time,” she said. “We needed to grow.”
At the start Brandt taught ballet and tap, and as she became familiar with other dancers and teachers, she grew her staff and classes offered. Currently students of all ages can learn ballet, point, lyrical/contemporary, tap, jazz, hip hop, modern, creative movement and tumbling classes.
“Two of my teachers have been with me almost 20 years,” she said. “I have a really dedicated staff who have all either been with me for years or grew up in the studio.”
Brandt has given her all over the years and has decided it is time to slow things down a bit and retire. She is selling the studio to Dakota Weeda, a former student and current teacher who has grown up at Terpsichorean.
by JEFF SPRY Cascade A&E Feature Writer
Born on the Fourth of July brings with it a certain patriotic promise of future greatness in bold hues and harmonies. For ex-pro athlete and artist Todd Marinovich, that primrose path has been punctuated by the thrill of victory and the agony of defeat.
Now baptized in the Cascade crescendos of Central Oregon’s high desert, the Rose Bowl winning former National Football League (NFL) quarterback, ultimately turned mesmerizing multimedia artist, Marinovich finds solace and salvation in the region’s natural beauty, fusing those images with themes of mortality, hero worship and transcendence.
Recently resurrected and freshly fortified with a wife, Alix, and two small children, Marinovich has settled into his mercurial roles as husband, father and artist amid a wealth of captivating scenery, expressing memories, regrets and triumphs on the blank canvas.
Finally free of the substance abuse and legal entanglements that precipitated his temporary plunge, Marinovich is diving into his artistic career with relish and unabashed enthusiasm.
“I started loving art at a young age,” he recalls. “I remember it being the highlight of my schools days. Early on it was P.E. and art and both those periods went by in a flash. And that’s when you know where the magic happens, when time is non-existent, and I was lucky to find two passions in sports and art. Those were my first drugs, really, and that’s what drugs do, put you in the moment where time is not a factor.”
Marinovich moved to Sisters last November and was drawn to the area because it was the “true Oregon” and had experienced the area over the years growing up and later in life. An astute student of the arts, he’s fascinated with movement and color in all their inexpressible forms and incarnations. In 2005 he met an influential artist named Jerome Gastaldi in Fallbrook, California.
“He had this killer art compound and he just blew my mind. Everything about his style and perception was incredible. He taught me there are no mistakes in life and art and in the act of painting he was utilizing a method of abstraction I’d seen, but never really absorbed or appreciated it until I saw the process.”