Should You Homeschool?

There comes a point for a lot of dancers who have to make the choice of homeschooling. Ballet is so time-consuming, so there has to be a “give and take”. I myself, did high school online and finished in two years, third in my class and with my AA. So, if you are self-motivated it’s a great opportunity to balance dancing and education. The video below was made by a ballet student about her experiences with online school. (@chloechka_art) Props to her for animating at the age of 15, because I am like dying just doing 2D drawings.

 

So, how do you know when it is right to homeschool? There comes a point where the hours in the day are running short, and it seems that there aren’t enough hours in the day to balance school, homework, dance and rehearsals. For some, the answer is easy and it is to homeschool. While homeschool isn’t for everyone, for those who do want to pursue that option, it isn’t as hard as it seems. Nowadays, you just need to fill out an affidavit and set up your curriculum. If you can financially afford to purchase curriculum that’s probably the easiest way. If you can’t afford to buy a set curriculum, you can piece it yourself. But, one of the best things you can do is find an online charter school in your state.

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If you are ready to homeschool and don’t know how to talk to your parents about it, ask your dance teacher, and they should be able to help explain the reasons why, and provide you with proper guidance. If they can’t, you can show them this article.

Parents, if you are student shows you this article, or you yourself are considering homeschooling here are some reasons why homeschooling might be a better option for your child:

  • To be a part of a pre-pro program most start at 10:00 AM or 1:00 PM.
  • Most ballet dancers are self-sufficient and can work at a faster pace so they don’t waste time.
  • Homeschooling allows for more hours of dancing and rehearsals, not to mention if you are asked into a year-round school, it’s an easier transition.
  • Travel time. It also saves on travel time and chauffering around.
  • It allows dancers to excel at their own pace. Sometimes it is frustrating not being able to control the progress in the ballet studio, so having control of progress in education is a good feeling.

Finally, homeschool isn’t for everyone. Some schools will allow dancers to leave early and skip out on elective and PE classes in exchange for their dance school to sign off on hours. This allows for more hours of dance. And, you should never compromise the quality of education for your dancing because an education is something that no one can take away. You also will need it as a backup plan if you get injured or if you don’t get a contract.


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Is ballet getting too good too fast?

the baby ballerina

It is no secret that between physics, anatomy, and kinesiology, that ballet technique has literally been perfected to a science. Now, dancers are pushing their bodies even harder, pushing it to the limits to achieve something new, something unseen and something exciting. Dancers are training as hard as ever, and training smarter than any other previous generation. The access and exposure to resources young dancers have now is insane. Ten-year-olds are now becoming insane technicians all before their bodies change. Thirteen-year-olds are now pushing technique and artistry. Sixteen-year-olds are looking like prime dancers, and eighteen-year-olds are killing themselves in the corps de ballet.


Elisabeth Beyer, Satanella Variation, YAGP 2017 FINAL ROUND, winner of the Natalia Makarova Award, and winner of the Moscow Ballet Competition.

As the years have unfolded, dance has progressed at such a fast rate, a rate that I don’t think anyone saw coming. The finesse, the artistry, the acting, and the tricks are all combined to create these mega-monster dancers. These dancers right now are all between the ages of ten and sixteen and are kicking butt. They are dominating the competition circuit, they are dancing every genre of dance, and they are already making appearances at international galas. They are showing the finesse of technique, budding artistry, and emotion depth that has been in the lack for a long time now.

Are students peaking too early? In recent conversations with colleagues across America, there are two problems that are facing young dancers today. The first question asked is, “Are students peaking too early?” and the second question, “Is the job market able to accommodate these dancers?” As dance has always been for the young, it seems that we are now facing the dilemma of bringing back the infamous baby ballerina or watching some of the world’s best talent sit in the corps.

So, if a student like this doesn’t burn out, if they don’t get injured (and they shouldn’t unless a horrible accident), what do they do? Do they audition at fifteen, get into a trainee program, join the second company at sixteen for two years, and then join as an apprentice at eighteen, and they get their corps contract. They sit in the corps for three to five years until a soloist spot opens up, and become a principal in a few years after that? If that is the case and a dancer peaks at sixteen, that usually means, that their prime years will be done before they are even a principal. A dancer’s body usually has somewhere between ten to twelve years of prime dancing from the time they peak. Back in the day, dancers would peak somewhere around twenty-one. When their bodies curate technique as second nature, artistry and freedom of expression click, and their dancing intensifies. So from the time they peak, if they get ten years… This new generation of dancers will have their prime years between sixteen and twenty-eight.

Comments have been made, that there are some young dancers in top companies in the corps de ballet who are technically better than most soloists out there. The problem is that no company director right now is going to risk giving such a young dancer a principal title. Beckanne Sisk pulled it off at Ballet West with careful guidance by Adam Sklute. She managed to become a principal dancer within four years of joining the Utah company. Notably, Lauren Lovette, New York City Ballet, also pulled off a pretty quick rise to the top. She joined City Ballet in 2009 and was a principal by the 2015/2016 season. Jeffrey Cirio rose quickly to the top of Boston Ballet by joining in 2009 and becoming a principal by 2012. He jumped to American Ballet Theatre as a soloist in 2015 and became a principal the following year after his nomination for a Prix de Benois. He then added English National Ballet as a guest principal artist.

This begs the question, what do we do with all of these young superstars? Professional children’s company? Start replacing soloists and corps members with these dancers, and hiring a special teacher/psychologist to help these dancers have healthy lives? It is funny, because Hollywood embraces young talent, and between labor laws and unions exceptional young talent in Hollywood is protected. Should the same apply to dancers? Look at say, Dakota Fanning, Abigail Breslin, Arianna Grande, and Selena Gomez. All of these young women took their art and passion to another level, fueled by desire and hope. In film and music, there was a space for these young dancers to grow. Is ballet ever going to make that change? Could a sixteen-year-old girl pull off the full-length Sleeping Beauty, in the title role as a sixteen-year-old princess? I believe so, I just saw a handful of dancers who are ready to take on this full-length ballet. I don’t think a sixteen-year-old could pull off, say, Swan Lake, but I think they could pull off ballets like Coppelia, La Fille, Grad Ball, Sugar Plum and many others at a major company and pack the house.


Gold medal and Special Award winner at Senior devision Evelina Godunova

So, as ballet constantly evolves day to day, we have to ask ourselves, “What is going to be next? Is the job market ever going to allow for young exceptional talent? Will the older generation of ballet finally give into the progress of ballet?” We all know that most of the problems in ballet, problems like diversity, sexuality, mental health, body type are all being supported and being created by the older generation of directors, ballet masters, and school directors… Soo, when is it all going to change?

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5 Inspiring Women in Ballet

In Ballet right now there are many women fighting their rightful way into leading positions in the ballet world. It isn’t enough now for these women to retire and become teachers. They are pushing forward for jobs like Artistic Director, Creative Director, Executive Director, Resident Choreographer and more. As ballet is slowly progressing, women in ballet are taking things into their own hands. Here are just five women who are extremely different, extremely talented and have something to say in the world of ballet.
five inspiring women in ballet

>> Tamara Rojo, Two Jobs One Passion

The Spanish sensation, Tamara Rojo has had a stellar career and still at the age of 42 is wowing audiences as lead principal at English National Ballet. But it doesn’t just end there, she is also the Artistic Director of English National Ballet and has now nurtured ENB to be one of the best companies in the world with a repertory to die for. She is also making way for more female choreographers and repetiteurs with Anna-Marie Holmes re-staging of Le Corsaire.

>> Larissa Saveliev, founder of the YAGP

Russian-born Larissa Saveliev established the YAGP in 2000, and since then has awarded over 3 Million dollars in scholarships. The YAGP reaches over 7,000 dancers a year and helps mold their technique and career paths through their master classes. She has also established the bi-annual Job Fair, the Emerging Choreographer Series, and Legends in Dance Galas.

>> Ashley Ellis, RubiaWear 

Boston Ballet Principal, Ashley Ellis took a hobby of knitting and turned it into a mega brand, all while dancing. Her leg warmers and warm ups are everywhere, all while balancing dancing full time. One for the female entrepreneurs. You can catch Ms. Ellis in Boston Ballet’s production of the Sleeping Beauty opening this weekend.

>> Michaela DePrince, Author & Role model 

First Position superstar, Michaela DePrince not only became a role model for young girls everywhere but now has authored multiple books and one that was just optioned by MGM for a movie. The Dutch National Ballet Soloist is carving her way into the world of ballet, and carving hard so that others that will follow won’t have to.

>> Hee Seo, Hee Seo Foundation, YAGP KOREA

She isn’t just the first Korean principal at American Ballet Theatre, she is also changing the landscape of ballet in Korea. Hee Seo started her foundation last year in hopes to start connecting Korean dancers to more opportunities, and it is working. Additionally, her foundation is helping boys in ballet compete at the international level, in hopes of avoiding/being excused to their mandatory two years to the Korean army.

This week in Ballet News…

This week was a super exciting week in ballet world…
Boston Ballet opened Onegin.
NYCB closed their season with killer black and white ballets.
PNB and Houston Ballet took on NYC with killer reviews.
Dutch national Ballet premiered their killer campaign for Best of Balanchine.
San Francisco closed their Swan Lake.
Los Angeles Ballet sold out their Don Q.
Royal Ballet’s Iana Salenko made her debut in Giselle.
Atlanta Ballet named their new artistic director coming from San Fran Ballet: Gennadi Nedvigin
Ballet West had their YAGP Gala
THE YAGP regionals are happening
Corella School of Ballet in Spain’s new PR photos look like they are out of Vogue.
And a bunch more…. but what is more important… Whitney Jensen left Boston Ballet last July, and it was kind of a shocker. 2 weeks ago she announced she was joining Norwegian National Ballet in Oslo, and she departed to take her contract there this week. So here is to you Ms. Jensen and best of luck!
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Follow her endeavors on Insta: @whitneybugs

Secondly…. Has Boston Ballet become a stepping stone for dancers now? In 2004, Sarah Lamb left her principal position to Royal. In 2012 James Whiteside left his principal position for ABT. Last year Boston lost Whitney Jensen  (to Norwegian National Ballet) and Jeffrey Cirio (American Ballet Theatre). So, here are my speculations:

  1. Boston Ballet AD is either an amazing coach and director, and have nurtured his dancers into bigger things or his dancers are extremely talented and they are outgrowing him or he is pushing them to reach out and explore.
  2. Boston Ballet’s repertory and performance schedule isn’t enough for it’s high caliber of dancers.
  3. Boston Ballet’s politics are too intense and no one wants to put up with them.
  4. The Boston audience is as responsive to the company’s performances, thus limiting the budget for dancers and the costs of living are too high.
  5. Boston Ballet has recruited such talent over the past ten years, cultivated it to a point no one saw coming… and the dancers have gone on their own to find ways to push themselves to their limits and find new opportunities to grow.

IF YOU ARE A CORPS DANCER AND ARE WILLING TO TALK TO ME VIA EMAIL OR SKYPE TO BE INTERVIEWED FOR THE CORPS DE BALLET CONFESSIONAL… EMAIL ME PLEASE! ABALLETEDUCATION@GMAIL.COM

 

Angel… go home…

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a ballet fail…. #angel go home… your company did not work out…. Don’t ruin PA Ballet.. you obviously are another AD who needs to be replaced.  Goodbye. What makes American Ballet great is that we aren’t super classical. Leave that to France and Russia… Let us be dynamic, stylized, and musical. You just need to stop. Anyways… most female dancers classical or not have over-crossed tight arms when turning. I’m over it.