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Beware of the Monsters…

The show Dance Moms portrayed some of the craziest, over the top, and outrageous personalities in competitive commercial dance, but that show has nothing on the real-life world of ballet schools.

ballet moms

Recently, my heart has been heavy as Kate Spade, a long time fashion icon committed suicide, leaving a lot of my colleagues at a loss for words. Over the past decade, three major fashion icons have taken their own lives. Then just days later, food legend and TV host Anthony Bourdain took his own life. Brilliant humans, experts in their fields, and role models for millions, all happened to be pushed to a point where they felt that it wasn’t worth it anymore.

I started doing some googling about the rates of suicides in ballet dancers, and even though there was not a lot of hard hitting solid statistical data, the number of articles was very upsetting. The most noted dancer who committed suicide was a 29-year-old lead dancer with the New York City Ballet, Joseph Duell in 1986 after performing in Symphony in C, and rehearsing Who Cares? But, he wasn’t the only one, Juan Carlos Amy-Cordero a principal with Eugene Ballet took his life in 2013, Tallulah Wilson was 15 when she took her life in 2014, in 2012 it was Rosie Whitaker, and the articles went on and on.

When it comes to suicide and the arts… Suicide among gifted individuals is at a higher rate. This might be because those who are gifted have an increased rate of depression, mania and mental illness. We do know, that history has repeated itself over in over again with some of the most gifted individuals contributing to the arts over time. But as I was pouring over the research and articles about these dancers, I started noticing that everyone was talking about the same thing from different points of view.

In articles that I read about why dancers make better employees, or they are going to be more successful in competitive industries… these same characteristics that are praised in these viral posts are the same characteristics that described those who committed suicide: dedication, perfectionism, creativity, representation, thinking outside of the box, OCD. At the same time in 2008, ABC reported ten jobs that create so much pain, that the addiction to painkillers was becoming more prevalent, ballet was number 10.

So, how does this all come together? I was scrolling through social media, well more like trolling, and looking at today’s bright young stars as they are competing at the World Ballet Competition and the prestigious USA IBC’s Jackson Competition. I was watching videos of these elite young dancers prepare for this monumental occasion, and liking all of their photos. But then, I started scrolling through the comments. I started looking through everyone’s insta, as if I was obsessed. I was obsessed, I spent a good five hours. More importantly, I was shocked. I was looking at people’s followers, who bought followers as it is obvious to see blank accounts following from foreign countries like Turkey and Albania… I was looking at how parents were letting anyone follow their kid, despite their followers only posting pictures of women in bikinis and underwear… I was looking at the comments and hashtags used… And I was watching the cyberbullying happen in LIVE time. Don’t get me wrong, I have always known that ballerinas in pretty tutus and pretty lip gloss are some of the most vicious kids on the face of the planet. They do it in the backstabbing, underhanded, sneaky, with a smile on their face kind of a way. I have known that ballet moms are ten times worse, because they do things to sabotage other kids. Like what parent picks a fight or tries to mess with a 13-16 year olds’ life/career? A monster.

I was noticing how a lot of these accounts said “parent owned” or “parent monitored”… I was noticing that a lot these accounts were full of fake inspirational quotes and light-hearted things. While their “friendsta” accounts were full of self-degrading “ballet fails” and random tags about how horrible they are, and how much training they need to do. I started to notice that the big trend was this miserable feeling if they can’t turn or jump, or that their bodies were far from perfect. I noticed that these young “superstar” dancers didn’t even run their primary accounts and that these moms were photoshopping their kids. I noticed that they were paying photographers who cost in the hundreds and thousands to take photos of their kids and have them retouched… Their faces to be more symmetrical, their bodies to be leaned out… some people had no shame in the matter and were photoshopping their kids so horrifically that the background happened to be warped. Trust me… I know… as a former professional editor/retoucher for fashion magazines, you can tell when something is retouched.

I was noticing that the pressure of having Instagram followers for young aspiring dancers was killing the spirit of ballet. That kids were trying so hard to desperately gain ambassadorships and sponsorship from major brands like Russian Pointe, Grishko and Gaynor Minden. I was seeing how hard these kids were working to get something as dumb as a box of merchandise and the ability to put “RP Ambassador” on their profile.

I started to notice people were lying about their YAGP wins… Like putting YAGP 2012 winner, but not putting their semi-final, and letting people assume they were winning at the finals. I noticed that people were making up things like YAGP, #7… This, I am guessing is from the TOP 12, which is called alphabetically by either first or last name depending on who organized it. I noticed that people were posting their YAGP semi-final scores to prove they scored above a 95%, and the responses that were being displayed was kind of intense. All of these things were happening, are happening on social media… It is hard enough that I find parents telling their kids it is okay to lie, cheat and break the rules. If your studio says, don’t train anywhere else, but you are training with a private coach behind your school’s back… what example are you setting for your kid? If you are at a studio that says that you can only compete if you are ready, and you are throwing a fit and at the last minute hopping over to a different school and coach… what example does that set? What does it tell your kid about commitment, about trust, about working hard?

All of these things… watching young girls tear other girls down based on body type or ability… Watching their comments, or even overhearing them in these dance schools makes me wonder if ballet is really worth saving. And it isn’t just students… I have seen it over and over again with professional dancers commenting on others performances, teachers, coaches and more. Even myself… Trust me… There are a lot of times where I have to put the lion back in the cage… especially when writing this blog, there are about thirty posts I would like to post but can’t because of how awful they are, or how it could affect someone out there…

So, beware the monsters of ballet. Make sure you aren’t becoming one, make sure you aren’t creating one, make sure you aren’t contributing to this problem in the arts. And remember, if you are ever feeling unsafe, feeling uneasy, or just need someone to talk to about the pressures of ballet, about what is happening around you or anything- contact an adult or a professional as soon as possible. Remember, your feelings are valid, your stress is valid, and life is essential. Ballet is secondary. Ballet is far from necessary in the grander scale of humanity, so ask yourself, is whatever you are feeling or thinking worth it for ballet?

Ask yourself… what are we doing, what examples are we setting, and how is this going to affect your kid, other kids, families, and the future? Because if you ask me, ballet is not worth becoming a terrible human for, nor is it worth watching me kid become defeated or destroyed at the hands of other parents, students, and teachers. I would also say that ballet social media, the YAGP, and ballet competitions are not worth the time, energy, money, stress or anxiety it is creating on social media.

 

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The Humble Beginnings…

Haha… me at the studio where I started… Hard to believe I started at a barre so low. Two hip surgeries… and twenty-one years later… still trying to balance…

dance life boy ballet

In the world of ballet, we are forced to see the daily reminder of white privilege visually. It is something we feel strongly about, or it doesn’t phase us. I recently went back home to California, southern California. And, if you have ever been to a small place called Riverside County, you will be given a sliver of hope for the future of dance. Here back at home, I went to visit my very first studio. A studio that has always been gracious to me gave me a sense of purpose and belonging and gave me a friendship with the studio owner that still exists. I come back home, and I am watching kids who are 5-8 learn ballet, but this isn’t the regular class I see or even teach. This class is full of joy and passion and had every ethnicity represented. Yeah, in this little city, dance thrives as something that is accessible for all kids, all colors, and all socioeconomic statuses. Riverside, is this unique small pocket of the world, that for a long time was embarrassing to say you are from. Now, I am proud to say I come from here. I came from a city where ethnicity really doesn’t matter, and where the arts are continually growing and evolving.

On a recent trip to Atlanta, I met up with one of the first students I ever taught. He is now graduating with his master’s degree from Emory. We were talking about race in general, and how even in Atlanta race is a huge factor in everyday life, and when he talks about this little corner of the world we both call home, people are so dumbfounded.

Usually, I don’t like posting personal things on this blog, but this time around… it is essential to talk about where I come from and what A Ballet Education is doing. I didn’t grow up poor, far from it, but I didn’t come from a wealthy family either. I am one of twelve kids, most of us are adopted, and half of my siblings have severe special needs. Please don’t go googling them or adding them on Facebook… Why is this important?

Recently, A Ballet Education started their scholarship selection, and this year we were able to help six individuals around the US to continue their education in ballet at some of the most elite schools. I have to ask myself… Why does “elite” or “good” training cost so much? Even myself… charging for private lessons, my rate is on the higher side of ballet coaches. Sometimes, I justify it was self-worth. Sometimes, I feel guilty and am continually trying to help kids find scholarships. This year was a good year for me in ballet, and I am thankful, and humbled… I joke around with my friends back home saying, this Gay Asian Boy from the poor side is sitting around the world’s most magnificent theaters, coaching some of the most exceptional kids in the world. And I have to laugh.

Soooooo… Why is this so important?

I recently was watching a TED Talks video, and an Oprah video on ethnicity and the idea of ethnic tax and guilt. These videos were super inspiring, but they made a valid point, You are not responsible for your family, your culture or social injustices. By being just you, by making it, is already an accomplishment that matters. It isn’t about taking care of your family, or by helping your brothers and sisters. The list goes on. The more and more I critically thought about this concept, I realized… the same goes for this current generation of “white.” You are not responsible for all of the social injustices in this world, and you shouldn’t have to pay higher taxes because someone in your family did the wrong thing. And as dancers, you shouldn’t feel guilty that you got a job. You worked just as hard. We all did the same pliés, tendus, and god awful, painstakingly long Russian adagios to get where you are.

But here is what you can do… You can give back. You can hit the streets like Aisha Ash and just walk around in a tutu. You can volunteer to teach at the local YMCA; you can donate money smaller school in a less fortunate area. You can buy tickets to a ballet performance for someone at your studio who might not be able to afford to go. There are tons of ways to give back, but if time and money is something you don’t have… which I totally get…

You can be a person who understands that ballet is not the problem; tradition blinds the people running the institution of ballet. We can be aware, that not everyone’s journey to get to the barre is the same and isn’t equal. We can be mindful that the costs of ballet are inflating, so families around you might be struggling to keep their kid dancing. We can chip in and get a new pair of pointe shoes for the girl who can’t afford it. We can be inclusive of all bodies who want to learn the discipline and rigor of ballet. We can be accepting for those who have physical disabilities who just want to feel like a princess. We can be all these things. Things I learned in a little part of the world that isn’t known for dance and is probably known for crime more than anything.

And, if you come from a family that can afford ballet, there is nothing wrong with that either. Your family has had to work hard to get where they are. Humility, though, that is the key factor. You read all these dancers’ biographies, and autobiographies and they all have one thing in common: Humility.

Stay humble friends.

 

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What does it take to be a Ballerina?

Ballet is hard, like really hard. The overwhelming stories and information out there is daunting. As parents you only want what is best for your kid, as student your heart is full of passion and desire, as a teacher you just want to be the best mentor possible. Questions like, “What school to go to?” or “Where am I going to dance?” or “Should I compete at the YAGP?” are all questions that are out there. There are arguments on both sides to every question, and important questions like, “How many hours should my student be dancing?” or “What school is best suited for my child?” or “How much should I be posting on social media?”

What does it take to be a ballerina
Behind the Scenes of Issue 11 // Photographed by Me.

So what does it take to be a ballerina in today’s world?

If you asked me five years ago my answer would have sounded something like this, “You need all the right circumstances, but most importantly you need to work hard every day.” It would have been full of hope and inspiration. I would have said, “If you want to be a ballet dancer, and you are willing to put in the hard work, you will find a place to dance.”

But, this isn’t five years ago. This is now, and now more than ever, jobs in ballet are even more scarce and the world is now smaller than ever. And now, my answer might be jaded. But it is time to be honest and truthful. Watching dancers get placed into companies over the past few years, and watching dancers struggle to find work is even more heartbreaking.

To be a dancer in this day in age, the most important thing is you need to have the RIGHT training. Meaning, you have to find a school that is capable of placing you into a company. Before, schools would feed you into schools attached to companies. Now, it is more important to find strong training at a young age, and work hard inside of these schools. Schools that care not just about your technique, but who you become as a person. I don’t think that kids should be going away so young, unless their families are 100% positive their kid is prepared to be a good person. You have to be technically efficient at such a young age now. At thirteen a double pirouette on pointe isn’t good enough anymore. A good school will be able to call up a company or school and be able to get you placed. A good school will teach you proper modified Russian Technique. Unfortunately, Balanchine schools just are not cutting it anymore in the global market. Finally, your coaches need to be able to teach all pedagogies and different approaches. Every student is different and every student will turn differently, jump differently and have a different needs in the studio. (Click here for what makes a good teacher)

You need to have the right body type and proportions. With the influx of dancers out there, you need to have the right body proportions and body type. Proportions in the 9-head range, toned muscle building, and more importantly: long lean muscle building. You need to be naturally thin, and naturally elongated. Your body has to be primed for ballet. There are so many dancers out there, that body type and body proportions are becoming a priority. This isn’t just tall or short- it is about everything. Making sure that your body is the whole package. Bodies that are primed in ballet just naturally progress faster. (read more about body types) More importantly, these body types are becoming more and more common.

You need to have the right kind of facility; hips that are open, feet that point, knees that stretch, backs that are hypermobile.

Your family has to have the right financial circumstances. Ballet is expensive. And until you are ready to go to a tier one school on a full scholarship, you will be paying a very pretty penny. You will be paying for private lessons, Gyro, PT, Cryo, Pilates, Acupuncture, Dietary Restrictions. This also just doesn’t mean throw money at people. As parents you have to do your homework as well, and you have to understand what you are getting yourself into and what is required of your child.

Now, to add to all of that, you have to be musical and an artist. You have to be able to hear the music, feel the ballet, and develop a character. You also have to be able to perform. Perform in the studio and on stage.

Finally, you have to be smart, hardworking and dedicated. Loving ballet isn’t enough.You have to be hardworking, and put 100% into every class, and no matter how hard you work, you can never give up. Tenacity is key. Focus is crucial. Attention to details, the ability to blend into the corps de ballet when needed, and stand out as soloist when asked. You have to have a thick skin, because what people are going to tell you is going to be severe. Other dancers might try to knock you down because they are jealous. Teachers will push you to the breaking point, and not every director is going to like you, or think that you will fit into their school or company.

ballet is hard

But what is the payoff? For some, ballet teaches discipline and structure. Most who study ballet go onto great things because of what you learn in ballet. For some, ballet facilitates them into college. Ballet can open many scholarships and your education can be paid for. For me, it paid for Grad School.  College can lead to producing, executive positions in a ballet company, PR and Marketing and many other things. For some, ballet will become a tool for choreography. And for those who are lucky enough, ballet will lead to a job that actually pays the bills. And for an even luckier few, they will become principal dancers at companies and become a face that inspires the next generation. But it just doesn’t end there. Ballet leads to amazing things- the appreciation for music, for classical arts, and more. It exposes you to different ethnicities, different cultures, different ideas. It gives you discipline, dedication and the ability to find inspiration in monotony.

YAGP COVER 11copy copy
ISSUE 11 >> Read more by clicking above.

Finally, as hard as ballet is, it is the most wonderful thing. It is the combination of music, movement, human emotions, storytelling, fashion design and art coming together to create something that will only exist in that moment. So, as hard as it is to digest, the idea that you might not have what it takes to make it into a ballet company, don’t give up on the art. It is okay to do ballet recreationally, or train seriously, but not have a career. It really does bring the best of art together. It is something that we all should strive for. The essence of the ballet… not the politics of it.

A BALLET EDUCATION SPONSORS & ADVERTISERSrubiawear

 

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Another New Ballet Company comes to Florida

Joseph Gatti, Marcelo Gomes, Rasta Thomas, Elias Baseman, Matthew Golding and a few others  are teaming up and taking on Orlando. Artistic Director and Founder of United Ballet Theatre, Joseph Gatti has brought in a slew of men and a blonde bombshell, Chloe Sherman for a new work by Marcelo Gomes. This “equation” looks familiar, right? Yes, and it could be because Executive Director James L. Boyd III, is at the head? He is also the former producer for Rasta Thomas‘ Rock the Ballet. Rasta Thomas will serve as a guest artist.

united ballet theatre

Excited to see the work they will be premiering. Marcelo Gomes recently left ABT after a sexual misconduct allegation. He then had his documentary premiered, and set a new work with less exciting reviews for Julie Kent‘s Washington Ballet. This would be his first full year venturing out as a choreographer and transitioning out of the “dancer” title.

So what will this mean for dancing state of Florida? Adding another company to Florida’s long list of companies including Joseph Gatti’s former employer, Robert Hill’s  Orlando Ballet. (Orlando Ballet is currently searching for a new Executive Director, the third one in like five years…) As their website is still new, you can see the list of artists joining up with Mr. Gatti.

Regardless, any company that is creating jobs should be applauded. 

Best of Luck United Ballet Theatre!! We are watching!

 

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Celebrating 4 Years!

It has been a long journey, but four years later I am here…

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Four years ago, I never thought that I would be a blogger. I thought I was going to have my career in fashion and teach ballet on the side for fun. In fact, I didn’t want this life at all. After my ballet career ended, I wanted nothing to do with it. Unfortunately, I lost my father, and my world didn’t make sense. But, ballet restores the order of the universe. It is one of the only thing reliable things in the world. You start with left hand at the barre, and do pliés, tendus, and so on.

Now four years later, I am about to finish issue 12 of the magazine, and start the third year. My book, that has taken me two years to write is done, and I am teaching all over the world and have started taking photos of beautiful dancers. So this is my thank you to all of you. Without you, my readers, and my supporters none of this would be possible, so thank you. Truly.

ATLANTA BALLET

international city school of ballet

 

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5 BIG MISTAKES YOU CAN MAKE AT THE YAGP… that are preventable…

mistakes at the yagpYes, they are preventable… So with the new stunning issue of a Ballet Magazine out, tons of emails and DM’s on Instagram are pouring in… Since, I left to YAGP, a Ballet Education has 1,295 unread emails that I am ferociously trying to get through… plus publish a new issue, plus making the book does well, plus the May planner… plus my own teaching and coaching….

I should be insulted since no one is just clicking my consult fee, but instead I take to blogging… Seriously, you all want the help or advice with your child, but no one wants to pay for my time? Then when I don’t answer within 24 hours and you get mad?  Moms, please… goodbye. *Bloop*

  1. YOU SHOULD NOT PUT EVERYTHING YOU HAVE INTO THE YAGP & FINALS… and I quote, “My husband and I took out a credit card to afford to go to finals and my daughter got nothing. I am so mad at the YAGP. No one offered her a scholarship and barely was talked to.” —- seriously? NO ONE, and I mean NO ONE, should be taking out a credit card to attend the YAGP. Credit scores are forever…Ballet careers are not. That is the reality. If you are putting everything you have into the YAGP, think twice. You just spent about 5k to attend the finals, when that would have easily covered a summer intensive. All you would have had to do is just pay the $35 audition fee…
  2. DON’T COME WITHOUT A COACH… “I didn’t want to pay for my coaches expenses. I already paid her enough in private lessons.” Good for you, thinking you paid your coach enough in private lessons. But trust me, they are probably still way under charging you. The average coaching fees right now for private lessons for variations run about $150/hr+Studio Rental. Also, having a coach at the YAGP makes a huge difference in terms of networking. The first night of YAGP FINALS the YAGP hosted a teachers/coaches/judges meet and greet… Here, people asked coaches about their students and about their school and their ideas on ballet. Also, coaches are easily able to navigate backstage, get updates, and make life a little easier for you… rehearsal spaces are booked through them, arranging extra classes outside of finals, the list goes on. The coaching fees are high because the coach is going to be out missing 10 days of teaching, plus hotel, plus airfare plus a million other things… this has to be something YOU consider when deciding if you are going to do the YAGP.
  3. “I spent fifteen hundred dollars on a custom tutu that she wore three times.” NO ONE, and I mean NO one should be paying that much money for a tutu. Especially if it is for competition… If your studio doesn’t have costume rentals, then just go in a leotard and rehearsal platter. The YAGP actually doesn’t require a costume to compete, so you could just compete in a leotard if you really wanted to. Technique speaks louder than sparkles. And yes, you were only going to wear your tutu maybe twice… if you are lucky enough to be invited to finals. I am assuming they did two semi-finals, and a final.
  4. “My daughter did five pirouettes and didn’t make final round.” … DON’T FEEL ENTITLED TO WIN…you are only letting yourself down and your kid. Don’t feed them information like more pirouettes equals better ballet. That is wrong, just wrong. Like super wrong. You are only setting your kid up to fail miserably in ballet. Technique, finesse and fundamentals will always outweigh the tricks. End of story. Regardless of tricks, or technique, remember that ballet is subjective when it comes to artistry, it is why the YAGP assembles a larger pannel for finals, so that more eyes and more opinions are given.
  5. “I am at a loss for words. My daughter feels like she wasn’t even looked at in the classes and wants to give up on ballet.” Note, her daughter is 10, and was not even in the pre-competitive solo division, she was in an ensemble and the grand de filet. Well, logicially, your daughter is in the ensemble classes, which were way overcrowded to begin with. Second off, the scholarships are given out to those competing in the classical and contemporary solo categories. Thirdly, she is 10 so there is no where for her to go anyways. Fourth… even if she was not corrected individually, she needs to be trained to take everyone’s corrections as her own to help her grow as a dancer. Fifth… if that is a thing when listing, you are not realizing, that the YAGP finals had over 1,000 kids between soloists and ensembles. Sixth… if your daughter is going ot give up after one week of “tough” classes, then maybe she isn’t cut out for ballet. Even at the age of 10, the competition is stiff at the YAGP.

Here is what REALLY irritates me… 

Parents are constantly emailing me complaining about the YAGP and the politics of the YAGP. So, I sit back and have to ask, “Then why go? No one is forcing you to go… Companies are still holding auditions on the regular calendar… Summer intensives are audition from January to March and people are getting scholarships…”

If the answer is “experience”, then the results shouldn’t even matter to you.

If the answer is “to win”, then you have realize that the YAGP has their own agenda to further ballet and what they are looking for, so you have to accept just that.

If the answer is “to get a scholarship”, then why not just do the auditions like everyone else? They are cheaper.

If the answer is “to proove your kid has what it takes”, well you won’t know till your kid is sixteen or seventeen and being asked to join a company or second company.

If the answer is “to be famous”, you are in this all for the wrong reason and you should re-direct. I would say there are only a handful, if not just two ballerinas out there right now with worldwide fame outside of ballet: Misty Copeland and maybe Tiler Peck…

The YAGP finals are there for the creme de la creme of ballet to recruit the creme de la creme of talent out there. We are talking about beautiful bodies, good facility, gorgeous feet, wonderful musicality, interesting artistry, and full of potential. It isn’t about the pirouettes, or how high the jumps are… it is about the ability to turnout, lengthen the line, cleanliness and control. They are looking at where is this dancer going to be in a year with a scholarship, in four years with a scholarship to Princess Grace or Royal, and what is the longevitiy of their body inside ballet. BUT THIS ISN’T THE ONLY WAY TO HAVE A CAREER… AND REMEMBER… the YAGP isn’t the end all, say all… they aren’t the only ones who are deciding careers… 

And finally…. bigger isn’t always better… and I am talking about hairstyles. The hairstyles were out of control at YAGP this year. Remember french twists and french rolls for ballet should be tight and enhance the head and neck… not take it over. Sock buns at the YAGP should be automatically disqualified. At this point in ballet, we should all just be able to do a good old fashioned bun. Finally, if the tiara is as big as forehead… its too big. Seriously… a lot of questionable hairstyles at the YAGP this year. Remember… in ballet the ideal is a small head…

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Notes on The Fairy Doll

Always a controversy when it come to “lost” ballets, or ballets that are not performed every season and easily handed down from one generation to the next. One of those ballets is the full length Fairy Doll. Originally, premiered at the Vienna Court on October 4th 1888 as Die Puppenfee, this ballet is also based on E.T.A Hoffman’s 1815 story of the Sandman. He is the author of the Nutcracker, if your forgot, with music by Josef Bayer choreographed by Joseph Hassreiter, and then the pas de trois by Legat.

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Anna Pavlova in the Fairy Doll, waiting backstage

Eventually, in somewhere in the 1920’s Anna Pavlova danced her version (the variation we now know at competition as the “big bow on the head”) by adding the music from Drigo’s “Halrequinade” and “serenade pas de trois”. When this happened Diaghilev commissioned Leonide Massine to create “La Boutique Fantasque” to an arranged score of Rossini, which obviously hasn’t survived…but in turn was the inspiration for  Balanchine’s Harlequinade.

So, the story line is simple in this two act ballet. In a toy shop a farmer and a noble come in with their families. The puppeteer shows the mechanical dancing dolls: Chinese, Japanese, Harelquin, Austrian, Baby Doll, Moor, Drumming Bunny Doll (which is given a nod in Balanchine’s Nutcracker), Spanish, Hungarian, Poet and the lovely Fairy Doll. Obviously the rich family wants the fairy doll and pays. The farmer buys the Harelquin and Austrian. The shop then closes, but when the clock strikes midnight, like in all fairy tales, the toys come to life. Not only do all the dolls come to life but the chess pieces, a cello, a hammer, bowling pin, bunny doll. They all dance, where the queen of the toys… the fairy doll and her two harlequins dance the very technical pas de trois.

Then as the night ends, all the dolls incircle the fairy doll just as the shopkeeper comes in and is mesmerized at the magic of the dolls. Easy enough. It is actually the perfect ballet if you are at one of those schools where EVERYONE insists on having a solo. Also, the variations are great to take to the YAGP as well… Not just the lead variation… but the other variations as well. It is actually why I am posting this… a lot of the competitors from Korea and Europe brought the variations of Chinese Doll, Austrian Doll, Spanish Doll and Japanese Doll… which actually sparked this post…

Below is the student performance from Vaganova Ballet Academy. I would love to give credit to whoever posted this but no name, just the same person who posts the exams… and I can’t translate the names to give credit to the dancers, but they are superb.

Don’t forget to sign up for my MAY 5 & 6 workshop in Atlanta!!
ATLANTA BALLET

 

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ISSUE 11

YAGP COVER 11copy copy
ISSUE 11

Inside the world’s largest ballet competition. This year over 10,000 kids auditioned and competed at the Youth America Grand Prix and tens of thousands of dollars in scholarships were given out to promising young talent across the world. This issue is packed with the enormous talents emerging from the Youth America Grand Prix.

The Cover Features:
Brady Farrar, Misha Broderick, Joel Dichter, Madyson Grobe, Remie Madeline Goins, Jolie Rose Lombardo, Tia Wenkman, Kaeli Ware, Bel Pickering, Kali Kleiman, Lily Turner and Ava Arbuckle.

Reviews of Atlanta Ballet and Dance Theatre of Harlem & much more in the issue.

The issue comes out on FRIDAY!!! Until then…

Check out these young superstars on Instagram:

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A Ballet Education Scholarship

A Ballet Education has committed/pledged to raise $27,000 dollars in scholarship funds for various organizations including the YAGP Korea, Burbank Dance Academy, the Cirio Collective & helping support kids with the financial aid to attend Summer Intensives and the YAGP. This crowdfunding initiative is to help support the art form that I love with all my heart. This year has been a devastating year for many, as ballet companies and schools are losing money and not giving out as many scholarships as usual. The costs of ballet are skyrocketing and the need to support the ballet is more important, now more than ever. 

For the 2018-2019 Season
YAGP KOREA through the Hee Seo Foundation $3,000
Burbank Dance Academy $1,000
YAGP FINALS FUNDS $10,000
SUMMER INTENSIVE FUNDS $13,000

How am I going to fundraise $27,000 for all these kids/dancers? Simple. All of the proceeds from my books, artwork, and magazine will now be going towards helping dancers across the world. I have been watching, listening, and hearing kids across the world struggle financially at their home studios and then when they are offered the chance to be seen, or have a career, or attend a summer intensive that could actually make their career… they can’t even afford the chance to go. It was hard to watch kids struggling this year at YAGP finals with the costs of everything. Numerous times, I had let kids hop into my UBER or LYFT because I knew it was going to cost them $15 dollars when we were all going to the same place… 

Why am I always helping YAGP KOREA? Because, for these young men, it is important to place at a ballet competition. If they don’t place, they will have to serve two years to the army at the age of 19. Their training will  stop completely, and the odds of them ever returning to ballet are slim. Read more here.

Why am I helping Burbank Dance Academy? Because I have seen, worked in, and observed the intensities of the Los Angeles Ballet Community, and I believe this school under Jason Coosner is creating a healthy and positive presence in the Los Angeles Ballet Community that is desperately needed. 

Think about it this way… 

If you buy 1 grande Starbucks espresso drink a day, that is $1,825 dollars a year- if you just cut back to 5 coffees a week, and donate the rest you would be donating $520 dollars a year. That is a plane ticket for a kid to attend finals, or attend a summer intensive on scholarship. It might be the last amount needed to attend for a student to attend a year round school. That’s 6 pairs of pointe shoes you could be helping a student receive. If you were to not go out and eat once a month, you would be able to donate $1,200. That is almost a full summer intensive fee. It is 12 pairs of pointe shoes. It is the cost of the hotel for YAGP finals. 

How can you help support? Subscribe to the magazine.
Or if you would like to donate, feel free to by clicking here.

Do you need a scholarship? Applications for scholarships will open in December 2018.

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YAGP… the final round…

As the YAGP moves on, the list gets smaller and smaller as tonight is the last night of competition. These 55 females, and 40 males will compete for the two top prizes Youth Grand Prix and Senior Grand Prix awards. Additionally there are other awards, and many of these young men and women will walk away with a scholarship or offer to a major school or company. This list doesn’t include the hundreds of pre competitive dancers that competed this week as well.

 

YAGP 2018 NYC FINALS
Photo Courtesy of VAM PRODUCTIONS // GARY TRINDER, Tirector of the New Zealand School of Dance teaching during the YAGP

 

JUNIOR WOMEN: 31 Contestants 
1-Ella Kolpakov (12), USA
4-Poppy Trettel (12), USA
9-Emma Topalova (12), USA
14-Nina Gagnin (12), AUSTRIA
21-Margarita Fernandes (12), PORTUGAL
22-Nana Oda (12), JAPAN
26-Ava Arbuckle (13), USA
30-Kate Thomas (13), USA
31-Remie Madeleine Goins (13), USA
48-Yo Nakajima (13), JAPAN
52-Gia Polson (13), SOUTH AFRICA
54-Petra Johnson (13), USA
58-Sierra Glasheen (13), USA
61-Dominika Afanasenkov (13), USA
66-Mahalaya Tintiangco-Cubales (13), USA
67-Alexandra Manuel (13), USA
68-Keaton Gillespie (13), USA
76-Emma Spillane (14), USA
77-Aoi Sawano (14), JAPAN
78-Ruth Schultz (14), USA
80-Jessica Phan (14), USA
88-Rebecca Rudolf (14), PORTUGAL
89-Alexandra Hoffmann (14), USA
91-Olivia Tweedy (14), USA
96-Jolie Rose Lombardo (14), USA
101-Tia Wenman (14), USA
114-Lily Turner (14), USA
117-Alice Balboni (14), BRAZIL
118-Suyeon An (14), S KOREA
131-Estrella Birkinshaw (14), USA

JUNIOR MEN: 20 Contestants
151-Toya Hayashi (12), JAPAN
152-Filippo Mambelli (12), ITALY
153-Misha Broderick (12), USA
158-Brady Farrar (12), USA
160-Giuseppe Ventura (13), ITALY
161-Vitor Vaz (13), BRAZIL
164-Jackson Smith-Leishman (13), AUSTRALIA
167-Darrion Sellman (13), USA
170-Dorian Plasse (13), FRANCE
172-Arata Yamamoto (14), JAPAN
174-Soshi Suzuki (14) JAPAN
175-Parker Garrison (14), USA
176-Antonio Casalinho (14), PORTUGAL
177-Masaki Suetsugo (14), JAPAN
178-Francisco Gomes (14), PORTUGAL
179-Joao Vitor Da Silva (14), BRAZIL
180-Aydin Eyikan (14), USA
181-Joel Dichter (14), USA
182-Antonio Ferreira (14), PORTUGAL
186-Enrique Emmanuel Bejarano Vidal (14), Mexico

SENIOR WOMEN: 24 Contestants
205-Florence Joffre (15), FRANCE
213-Basia Rhoden (15), USA
214-Non Tachibana (15), JAPAN
223-Elisabeth Beyer (15), USA
225-Teresa D’Ortone (15), USA
232-Marlena Umland (15), USA
235-Quinn Starner (15), USA
237-Alina Taratorin (15), USA
238-Christiana De Blank (15), USA
241-Nicole Denney (15), USA
250-Bel Pickering (16), USA
251-Lee Mleton (16), USA
265-Guo Wen Jin (16), CHINA
267-Victoria Wardell (16), CANADA
277-Carolyne Freitas Galvao (17), BRAZIL
279-YoonJi Lee (17), S KOREA
282-Kaeli Ware (17), USA
283-Anaelle Mariat (17), FRANCE
290-Heidi Cecilie Christensen (18), NORWAY
293-Emma Guertin (18), USA
294-Seon Mee Park (18), S KOREA
296-Paloma Berjano (18), SPAIN
297-Miu Tanaka (19), JAPAN
301-Nadyne Bispo (19), BRAZIL

SENIOR MEN: 20 Contestants 
357-Clark Eselgroth (15), USA
358-Jonas Malinka-Thompson (15), USA
363-Yuma Matsurra (15), JAPAN
366-Takayuki Moriwaki (15), JAPAN
375-Keita Youssef Bellali (15), CANADA
383-Joseph Markey (16), USA
386-Robert Evin Hyland (17), AUSTRIA
388-Marcio Mota (17), PORTUGAL
390-Joshua Green (17), AUSTRALIA
398-Francesco Fasano (17), SWITZERLAND
399-Lorenzo Collatuzzo (17), ITALY
402-Thomas Rousse-Blatiere (17), FRANCE
403-Stephen Myers (17), USA
405-Edvinas Jakonis (17), LITHUANIA
406-SuNu Lim (18), S KOREA
408-Masanori Takiguchi (18), USA
409-Pau Pujol (18), SPAIN
412-Bela Erlandson (18), USA
421-Vsevolod Maievskyi (19), UKRAINE
422-SangMin Lee (19), S Korea

book cover 1

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GOOD MORNING from the YAGP!!

There is something familiar, but something new and exciting here at the Youth America Grand Prix this year. Unlike the prior year, this year the first part of the competition is starting in NY at SUNY Purchase before moving into Lincoln Center. Like the Olympic Village, the Dorral Arrowwood Resort is completely filled with ballet dancers, coaches, parents, and YAGP judges. This morning at breakfast you could casually catch the directors of multiple schools and companies enjoying their coffees. It is like being at a museum, seeing but not touching. In just a few hours, the Youth America Grand Prix will start as hundreds of hopefuls will be competing. Today will start the junior competition. Hair slicked back tight, eyelashes on, and the noise of multiple languages sets the tone in the hotel lobby. Kids are being shuffled into Uber’s and town cars, all gearing up for the competition.

The energy is fresh and exciting as we are about to begin an eight day journey of excellence in ballet. Remember to follow me on Instagram for behind the scenes LIVE footage as I hunt down and find the next cover of a A Ballet Education.

DON’T FORGET… there are a few pre orders left on the illustrated book!

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It is Officially Here…

book cover 1

Mark your calendars… JUNE 1, 2018
What you have all been wanting… what you all have been asking for… what I have been endlessly working on… The final collection of my notes on ballet technique. 6″x9″, hardcover linen with book jacket and 164 pages of illustrations and notes, one year of hard work, over 300 drawings… it is finally… FINALLY… here.

All proceeds will be going towards the A Ballet Education Scholarship/Foundation for the 2018-2019 Season.

Click here to pre-order your copy.

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Notes of Pirouettes en dedans…

Notes on Pirouettes En Dedans…
how to do an inside pirouette

Working on pirouettes en dedans (pirouettes to the inside) can be hard. While it seems like they are easier than en dehors turns, the problem with en dedans is the turnout factor. Whether is a pirouette or attitude turn to the inside, these can be rather difficult to master because of the mechanics. The like all turns, the focus should always be on the supporting leg, and even more so with turns to the inside. Sooooo, let’s begin. Remember if you like this post, share it.

The Preparation Position
tension for turns
Pirouettes to the inside… the first thing you are going to want to focus on is the prepping position. Normally, when learning this turn you start in fourth position in croisé, with the back leg straight. You want to make sure that the supporting arm is in a very placed first position, don’t over cross it. For the working arm, the big mistake is opening up too far. Makes sure it is in front of your body… meaning look over your shoulder and make sure your elbow and hand are in front of your shoulder. A lot of times, young dancers will over compensate in this position and that supporting arm will be so far back… This also has to do with your hips and making sure they are in a true croisé. Make sure you can see both hips in the mirror. Remember, you are only crossing to you “box” not the shape of the room. 

The Passé
preparation pirouette
The action of getting into the retiré devant can happen two ways. The first way is when the dancer shifts/ fouettés to a dégagé en face position with arms in seconde. The second way is to directly bring the leg into the turning position. While a lot of the torque for the pirouette happens from the working leg, the tension and the inertia that drives the pirouette is still in the supporting leg.

The Arms
arms for pirouettes
During this time the arms are either moving from third to fifth, or second to first, or second to fifth. Or really any port de bras. The reality is they can be in any position, but there has to be a hair amount of tension built up. Weak arms in a turn is a death sentence. You wouldn’t want to fly in a plane with weak wings, so don’t turn with weak arms. Don’t over twist, and don’t wind up. It is one of the worst things you can do. While most of the energy comes from the arm, it isn’t about swinging into the position, but the amount of control and tension you can build to instantly get into the position and maintaining an inside axial spiral rotation in the upper body while the lower body resists and tries to press en dehors.

The Position
the position for turns
The problem with an inside pirouette is that as the supporting side and arms are rotating the axis inwards on the body, the working leg is working in the opposite direction. The common mistake is for the working leg to slightly turn in to help carry the rotations of the pirouette. This is most commonly seen in younger dancers. The more advance dancer knows the keep the knee behind the shoulder, thus causing the turn to “lose” another rotation. But the position itself is quite complicated. I would say it is more complicated than an en dehors pirouette, but maybe it is just a more difficult turn for myself. Unlike an en dehors pirouette, where you place into one position and create your own g-forge from the turnout and push back of the working leg and you can increase the g-force during the turn… an en dedans pirouette is based on the energy prior to the turn (in the prep and the actions leading into the position).

The Rotation
the position for pirouette
Ice skaters probably have it the easiest when it comes to rotating to the inside on the axis. While most of their jumps are to the outside, most of their spins start to the inside. The basic idea of their spins is their scratch spin. But here is what we can learn from this concept. The turn to the inside has to do with building momentum and increasing their g force by using their working leg to build the g-force. The biggest factor is the tension they build in their arms, back, and core. The coordination between their arms and working leg is crucial. We can take this same concept and apply it when folding into our pirouette. By building tension in the preparation, we are able to close the momentum on top of our axis, like figure skaters. Now to increase the rotations, the supporting side of our body has to turnout/rotate faster than our working side. Our working side is there just along for the ride, placed in a turned out position.

Increasing the rotations
pirouette inside
When turning to the inside the quickest way to build rotations is by getting in to the position as quickly as possible but maintaining the tension. The best way I find to get into the position is letting the working arm shift into seconde, and then immediately pull into the reitré position.  Don’t over rotate the second position. Then let the working side’s upper body press forward and spiraling up to the position

Option 2: Personally, I like to think of a barbershop pole, spiraling up into as many rotations as possible. Spiral up over the arch, and constantly keep growing up and out of your hips, through your chest and out through your arms.

Pet Peeves
One of my biggest pet peeves is when preparing, having your hips tilted. I don’t like the idea of “up and forward” in preparation for the en dedans. A lot of people engage this lunging position where the hips are behind the upper body because you are leaning forward. Personally, I prefer that the hips and spine are all in a neutral position right on top of the arch of the supporting side.

Another pet peeve is when turning, not using your lats. Instead of widening the back, people pinch it tight. Remember your back should be completely flat, no chicken wings, not tectonic plates pinching… just keep it completely flat.

Finally, my last pet peeve when turning to the inside is winding up. I hate it. If anything build the moment with the supporting arm, and the second it hits seconde position, pull into fifth (whether that is through first, or cutting en dedans to the fifth). Its one of the biggest mistakes people make and causes them to look extremely turned in. I see it all the time at these competitions, especially in the Paquita etoile variation. The turn in is real… like super real.

To buy the poster click here.

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For pirouettes en dehors click here.

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Time for YAGP FINALS!!!

In less than a week I will be off to the YOUTH AMERICA GRAND PRIX! What does that mean? It’s time to tune into my INSTAGRAM (@aballeteducation) and follow me around. This is an exciting year for the YAGP because it leads up to the Jackson Competition. So, what can we expect on my insta story and live casts? Probably me just being goofy like always. Just kidding… not really. I will be going around interviewing young kids and taking photos of the promising young talent of the Youth America Grand Prix.

What does this all mean… well actually, I will have a lot of down time at the YAGP because I don’t coach at finals. I will be getting everything ready and hopefully taking very epic photos of some of the most talented kids in the world. One will be the next cover of A Ballet Magazine.

a ballet education pictures

follow the hashtag: #ABEdoesYAGP

please don’t forget to help kids get to the YAGP finals by donating … It is so expensive to go each year, and TRUST me… I had to super budget for this year.

 

 

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Notes on Demi Plié

Ballet is hard. Really hard. No matter how ballet has progressed, the fundamentals of ballet have always stayed the same: turnout, pointed feet, and becoming something unattainable and unimaginable. Yes, these are the fundamentals, but the principals that ballet is based on have constantly changed throughout the decades to progress the technique. The first of these principles is plié. It is one of the first things you learn as a dancer. In the beginning, it is as simple as bending your knees and making a diamond.Then you learn to open your turnout, and finally it is the connection to the floor, the connection to tradition and the connection to a legacy that has been passed down from one generation to the next. So, the plié is not only the building block of ballet, but it also is the mental foundation of ballet.

notes on dem plies

From Issue 1 of A Ballet Magazine

No matter where you are in the world, no matter what time of day, no matter your socioeconomic status, if you take a ballet class, you will start pliés, unless a teacher gives you a random combination to warm-up your feet.

Plié

So, what are pliés used for?

Pliés are used to begin and end a jump, a turn, and basically every step in ballet. They are used to open the hips and facilitate turnout and to strengthen and lengthen the abductors. Pliés can be used to build strength in the hamstring, to stretch the Achilles, open the energy throughout the metatarsals, and open the body.

But more importantly, and the key to pliés, is the mindset that pliés set up for you. The plié clears your head, the outside world fades away, and ballet history starts to flow through your body. You see, pliés are a part of ballet history, and not just on the technical side of things. For generations, it has been a part of the tradition we enjoy so much. Plus, if you think about starting at barre, and the slight gesture of placing your hand at the barre, your hand is likely touching the imprint or sweat of generations before you. Think about it like this. Let’s say you go to SAB for the summer, and you are in one of the larger studios. Consider everyone who has touched that barre before you, stood where you stand, and now they are a part of ballet history. Think about the legends who grew up at Lincoln Center, or the standouts at your own studio who have moved on to accomplish great things. Sometimes, even inanimate objects have a history so inspiring that you are taken aback with awe.

Pliés for the Young Student
When you are younger, you think that the plié is the easiest of the technical vocabulary to master, but in reality it is quite difficult. Young students should really focus on alignment of the body, and really master the mechanic of slight movements (port de bras, plié, cambré, etc.), while maintaining their core.

Pliés for the Pre-Pro/Professional Student
For students who are in a higher program, the focus of a plié is to open your hips and start moving your joints. You should have warmed up prior to class, but if you aren’t there yet, then you really do use pliés as a warm-up. But, what you should focus on is the ability to gather and sustain energy from the body.

Pliés for the Professional
Once you are at a certain point in your career, pliés become the habit of life and just feel good. It is probably the only combination at barre that is easy and becomes second nature to you. But for you kids reading this, every professional uses pliés to warm-up the body and set the tone for their dance day. They will also pace themselves at barre, and work on the quality of their plié.

Pliés for the Mature Dancer
If you are on the mature side of dance, remember to thoroughly warm-up the body prior to taking class. The older we get, the more we have to preserve the body to prevent injury and to sustain dancing. Proper alignment really does become crucial for older dancers, especially where the knee is going in the plié. I always use my second toe as the guide of where my knee should be extending. With my demi plié, I also really try to make sure my knee goes slightly further than the length of my feet to get a really good stretch out of my Achilles.

Teaching Pliés: The David Way
Teaching how to properly plié is actually quite difficult. You can’t just say, “Bend Your Knees!” because some kid is going to bend their knees and out goes their rear, their ribs splay, and it becomes a hot mess. Truthfully, I actually don’t teach kids to plié in first position until age 8 or 9, when they can actually comprehend the fundamentals of the technique. With young students, I really try to maintain the integrity of the plié without messing up alignment by having them go under the barre and against the wall.

This only works if your barres are built into the wall and you have enough space for a dancer to go through. I am lucky to have the barres about 18 inches out from the wall but drilled into the floor- designed for stretching purposes and little kids. I have them do first position, backs against the wall, and as they plié I try to have them press their knees to touch the back of the wall. Honestly, I think I have only seen 4 kids do this naturally, otherwise it is like impossible — unless you have more than 180 turnout. But, by having them use this technique, and pressing the low back and full spinal cord into the wall, they are starting to learn how to build tension in the core, and feel the power of a plié coming from the hip. I also don’t really teach grand plié until they are 10 or 11 years old.

When they are older, they use one hand at the barre, (by now they have mastered grand plié facing the barre), but this time the focus isn’t just rotation and alignment, but coordination of the arm. I despise when people do grand plié and at the bottom of the grand plié their hands is in front of their crotch region; I think it’s ugly. So, I have my students delay the arm until they reach demi plié on the way back up.

grand plie
A Ballet Education Covergirl and ADC IBC GRAND PRIX winner:  Tegan Chou in Grand Plié

Finally, when teaching pliés, there are various universal corrections to keep in mind:
Lateral Alignment through the spine, ribs, and hips.
The alignment of the movement, knees over toes.
Feet should be flat on the floor, toes spread, but arches must be lifted.
When doing the second part of a plié, coming back up, the top of your thighs should touch first and then like an upside down zipper come together, one tooth at a time.
Spiral the inner back of your thigh forward.
Don’t rush the music.
Don’t sit at the bottom of grand plié.
Pliés should never stop moving.

 

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Help Kids go to the YAGP

Hello there A Ballet Education readers,

Last year you were able to help me get to the YAGP, and as a result I was able to further A Ballet Education. This past week a few students from around the country have written in explaining their financial situation and being short for the YAGP. This year the YAGP is more expensive than ever as it now takes place at SUNY Purchase the first five days, and Lincoln Center the last three days. Being in New York City is expensive, yet along being in New York for ten days. I can not list their names on who is asking for help because I don’t want it to look like favoritism. The three students (not mine) I am trying to help are in each of the age divisions: pre-competitive (age 11), junior (age 13) and a senior (17) and are females from around the United States. They have qualified in both classical and contemporary, and the total amount to help all three go to finals is about $6,000.00. (click here to donate)

Why is it important to go to the YAGP? These students are going to be seen by the top companies and schools in the world. They are all competing for scholarships, invitations to year round schools, and possibly be looked at by other schools and coaches. As great as it is to win in NYC, the reality is, that as long as you are there and seen, you have a chance to walk away with a scholarship or job.

The world isn’t becoming cheaper, and this also is affecting ballet. The costs of training and growing exponentially, and there is little or no help out there for these young dancers. Whatever is donated, is going to be divided by three and then dispersed.

Thank you.

xoxo- a ballet education.

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Now Booking April, May and June 2018

Now booking master classes and setting variations for April, May and June 2018.
Class focuses include:
Ballet Technique
Ballet Technique
Ballet Technique
Some more Ballet Technique
Pointe, Pointe, and some more pointe.
Variations, Staging Ballets, Pas de Deux… and some more ballet.
“Tiny Booty (turnout), feet, scoopy legs & more”

teaching
Lectures include:
Ballet Careers & the Cost of Training
Understanding Ballet for Parents
Ballet for Teachers
Ballet for Competition

Consultations for business planning, studio planning, careers & college

serious inquiries only, please email me for rates

For staging variations for NEXT season July, August, and September please email me as well.

 

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It is time to start nominating & voting

It is time to start nominating your favorite dance companies for A Ballet Education’s Company Awards!!

best ballet companies 2018

Okay everyone, it is time to start compiling data and preparing for YAGP finals… Which means I will be MIA for a little bit as we compile date for the TOP TEN LISTs. But, it is time to start nominating your favorite performances, performers, companies, teachers, designers, and productions!! You can write as much or as little as you want, vote for multiple companies and people, we will count them all!

Voting Closes June 2, 2018

RESULTS WILL BE PUBLISHED IN ISSUE 12 IN THE BIG TEN ISSUE

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A WEEK IN BALLET…

Cover photo: Our cover girl Jillian Davis and her partner Andrew Brader of Complexions dancing in Phoenix Ballet‘s Golden Swan Gala, performing Dwight Rhoden’s Amazing Grace. Photo by Alexandra Rose/ VOGUE IMAGES. (Click here to read more about Jillian Davis)

jillian davis andrew brader complexions

A week in ballet… haven’t done one of these in a while, but I didn’t have much else to say, well I did, but it would probably just create more controversy and would rather not have one of those weeks. Over the past two weeks I have been experiencing crazy things in my personal life including a major car accident (I was a passenger in a Lyft), coming home to Charleston, the ups and downs of dating and the struggles of finding inspiration for A Ballet Education. I did find inspiration in moss, so I created the April Tracker, now available for purchase.

APRIL 2018

So, what has been going on in Ballet?

St. PETERSBURG– ADC IBC in St. Petersburg Florida has started. Some say, this is a good warm up for what is going to happen at the YAGP finals in New York City. But the reality, this competition garners a lot more credit than people give it. The competition itself is outline in a previous issue by Wesliegh Dichter. (Click here to read). To get the gist, you aren’t judged just on performance, but you are judged on class, compulsory classical and contemporary variations, and performance. Then all of the scores are averaged together to present the winners. Don’t forget to watch their live stream!

SAN FRANCISCO- San Francisco Ballet has announced their new promotions for the upcoming season… All three are men. Wei Wang has been promoted to Principal, and Ben Fremantle and Lonnie Weeks have both been pulled from the corps to be soloists.

SALT LAKE CITY- Ballet West has announced their 18/19 season with their strongest PR campaign ever. If you didn’t catch it in Issue 10… The season will include Jewels, Swan Lake, Onegin and Beauty and the Beast for their second company and school.

ballet west a ballet education

SEATTLE– Today Pacific Northwest Ballet wrapped up Director’s Choice in Seattle and the 2018-2019 Season looks like it is going to be spectacular. They open their season with Jerome Robbins Festival followed by all new works. The Sleeping Beauty, Director’s Choice, Midsummer Night’s Dream and Themes ad Variations will all be mounted… They also have branded each program pretty great.

LONDON– The Royal Ballet is to stage an all female production by Aleta Collins. This is a big deal as it wasn’t until 2017 that a female choreographer has been invited to create work for the Royal Ballet. Since 1999. This is one of many new PR stunts Royal Ballet is doing… they have partnered with Erdem for Chris Wheeldon’s Corybantic Games.

SOUTH BRISBANE, QUEENSLAND– The Queensland Ballet is going to be getting a major do-over/ make over. News of their new state supported 10 million dollar expansion plan is going underway. Their new building is going t one a state-of-the-art ballet center designed by Conrad Gargett. Queensland Ballet is in the middle of their production of La Bayadere, which is developed quite well, with better storytelling during the colonization of India. It was done by Greg Horsman. (They just need better costumes… though I do like their shades… It is done in crop tops to look more authentic.)

BOSTON– Boston Ballet has announced three exciting tours starting in June 2018 at Lincoln Center with the New York Philharmonic, Boston Symphony Orchestra at Tanglwood in August, and for the first time, Boston Ballet will be going to Paris to perform at the iconic Theatre des Champs-Elysees in April 2019. They will be taking a contemporary bill including Forsythes Pas/Parts 2018, a world premiere, and Jiri Kylian’s Wings of Wax.

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Notes on Odalisque Pas De Trois… variation 3

Known for the impressive pirouette diagonal, this variation is a favorite among young dancers at competition. This variation comes the ballet Le Corsaire, and from the Odalisque Pas de Trois. The actual pas de trois’ music comes from Adolphe Adams but the variations come Cesare Pugni. So, lets start breaking down this variation.

odalisque pas de trois

Some call it the “turning girl” variation, but this variation opens up with extremely hard grand assemblés in ecarté. The combination is glissade, grand assemblé ecarté, relevé to attitude front, allonge, tombé relevé attitude, roll down. This combination might even be harder than the prirouette diagonal simply because of the rotation/ turnout, timing and control factors.

Okay… so glissade for me is always done as flat as possible… relaxing into the plié is really going to help the take off of the grand assemblé. Meaning the first leg that brushes, keep directly side, as you close stay en face as much as you can, but over cross it because you are going to need it to travel.

Remember, you should always bring the supporting leg to the working leg in assemblé, and hold fifth in the air as long as you can, or the music tells you. If you choose to beat it, great, but for me… I just like seeing a nice, high, clean fifth position in the air. Did I mention you have to jump… you can’t do these weenie assemblés that don’t higher than 3 inches off the ground.

From here, YOU HAVE to land in a solid fifth position to get into the attitude front. Don’t do some random assemblé into attitude front… that’s not a thing. Be super turned out! While perfectly balanced, you need to allongé first, then cleanly roll down from pointe before transfering to the attitude back. Make sure when you tombé that heel is super far forward, or flatten it to the audience, and then over cross the attitude back. Ideally, your working foot should be seen on the other side your tutu, and ideally above the shoulder. You get three sets of this horrible, but super beautiful combination.

Some waltzes happen… then the famous diagonal… chassé to relevé arabesque, stepping through to fourth, and pirouettes… The hard part about this combination is obviously the turn… but it is really rolling down cleanly and closing into that fifth front to get into the chassé that kills everyone. (Check out notes on pirouettes) It is okay to do doubles, but really… after the age of thirteen… you really need to be doing triples. We can all thank Gillian Murphy for setting this standard. Make sure the last one closes fifth back so you can get into a beautiful sous-sus/sus-sous. Or you could be a baller like Natalisa Osipova and just do double tours.

As you open the back leg, cleanly roll down, heel forward. A big traveling chassé and a good grand jeté throws you as far over stage right as possible, followed by a jeté… turn it out, point your feet. The bourrés, keep your legs crossed.. at all times.. the back leg has to do the traveling.

Finally, the last diagonal of step-overs, lame ducks comes into the play. For me… I prefer lame ducks to come cleanly from fifth, meaning travel on the first step and cross tightly over with the second, and quickly replace the legs. Add the doubles, change the port de bras. Do whatever artstically makes you happy, as long as you are clean.

Character Notes: By defintion, an odalisque is a female slave or concubine in a harem. Which is wonderful that we are giving these roles to young girls. There is a lot of sex appeal to this variation, which at thirteen is mighy questionable if you ask me. But, I am not your parent, or your coach… But I wouldn’t be putting a thirteen year old in a crop top, and ask them to pretend sell their body out. You could take the sad approach, that you are sad you are being sold into slavery. Gillian Murphy did that, I think.

What does a young person en pointe look like in this variation? The problem with this variation, as I have seen in competition… and online is that most everyone… even primaries and pre-comp on flat still look terrible. But, there are many exceptions to that rule that I have seen in the glassroom and in real life… But this young girl looked pretty decent, and showed a lot of potential within this variation. I think in this video she is 13…

But even for prix de lausanne she took a different variation… Maybe because the stage is raked? Or maybe she was tired of that variation… who knows. But the difference and growth shows a lot.

And again, Odalisque… just not a variation you should be taking to competition unless you trunly are ready for that. Just because you can do some wonky turns doesn’t mean you should be taking a turning variation. Remember, these competitions are to showcase your potential, not messy technique. At the end of the day, classical ballet is about constraint, control and finessed technique.