ballet blog – Page 2 – A Ballet Education

July 4, 2015November 5, 2015

ONE YEAR: a Ballet Education

I can’t believe this blog has survived a year.
Ballet at a glance in a year:
Misty Copeland and Stella Abrera became the first of their respective ethnicities to ever become principals at American Ballet.
The Cirio Collective was born.
Shin-Yong Kim won the YAGP at 14.
NYCB made the front page of the NYT, above the crease.
HUFF Post published a beautiful retrospect of ballet.
We said goodbye to numerous influential ballet dancers as they retired from their respective companies: Wendy Whelan, Carla Korbes, Julie Kent, Sylvie Guillem, Paloma Herrera, Xiomara Reyes, Carlos Acosta, Auralie Dupont.
Patricia McBride — Kennedy Center Honoree
Misty Coepland, a ballet dancer made the cover of TIME magazine.
Royal Ballet still continues to annoy me, though Marcelino Sambé has been promoted to soloist.
Ballet San Jose changed their name.
Of the companies to look out for, only one really did well this season… Which is sad.
My company, Redlands Dance Theatre started rehearsals.
Dance still continues to expand through Social Media.
A Ballet Education financed Jessy Gonazalez to attend LA Ballet’s Summer Program.
A Ballet Education provided 32 pairs of pointe shoes to students around the US.

A Ballet Education has received over 13,000 hate e-mails, 1 Million Impressions, 800,000 unique visitors, and is read in 172 countries.

As I spend my 4th of July at the Beach, I wanted to say thank you for everything.
It has been a crazy year. Now, onto Fashion Week. I will try to keep updating, but my focus is going to be on gearing up for premiering at Fashion Week. Stay Tuned and get quick updates via our mailing list and Facebook.

Ballet Steps

Have you ever wondered what life is going to be like after ballet?

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In a whirlwind of unexpected surprises, I found myself in fashion.
Now come full circle, I am opening up my ballet company. Crazy.

June 4, 2015

The Guide to Fierceness

OUR FIRST EVER DOWNLOADABLE E-BOOK: http://joom.ag/RuCp
Now available for $4.99 USD

May 24, 2015

The American Ballerina: the 21st century prima

The American Ballerina in the 21st century

What truly does it mean to be an American Ballerina?
The idea of an American Ballerina isn’t far fetched at all, and actually since the cold war, America has become one of greatest manufacturers of ballet dancers. While up until the Cold War, ballet was dominated by the Russians. The history of ballet is funny, because as each generation of prima ballerinas comes to the forefront, they are influenced by culture, society, and what is “popular” in ballet. Today, we are blessed with the wonders of youtube and ballet in cinema, so we can see a variety of ballet dancers instantaneously. So, as a reflection of culture, we now have a true generation of American Ballerinas.

So, we have to kind of set up some conditions that define an American Ballerina:

1. Born in the United States.
2. Trained in the United States.
3. Dances with an American Company.
4. Has achieved the rank of principal dancer.
5. Has contributed to the next generation of dancers.

As we are at a time in ballet that celebrates the most innovate choreography, the most brilliant music, and the most technical phase of ballet, there are two extraordinary women that come to mind:

Tiler Peck and Lia Cirio
Ironically, neither dancer has the typical ballet body type. When we say typical we mean Russian girl body type, or Paris Opera Body type. Additionally, the two women are completely different. These two women though have created a new space and new ideal for dance. Tiler Peck has created a generation of a more jazz meets Balanchine dancer making it possible for competitive studio trained dancers transition into ballet companies and schools. While, Lia Cirio has created an athletic provocative archetype of a prima ballerina. The only two things these women really have in common is really good teeth and a really great smile

The Run Down on these women:

Tiler Peck: sporadic training in the greater Los Angeles area, transitioning to School of American Ballet, joined NYCB in 2004, became a principal in 2009. Gorgeous turns, and fills the stage. First was really seen in the welcome to SAB DVD. Balanchine trained. Subtle sensitivity and sweetness in her approach to roles.
lia cirio american ballerina

Lia Cirio: random school, transitioning to CPYB, joined Boston Ballet in 2004, became a soloist in 2007, joined the Trey McIntyre project, came back to BB in 2010 to become promoted to principal. Banging hyperextension, ferocious arabesque. First major appearance in ballet: YAGP 2003. Classically trained. A body articulate conscious approach to a role.

So what makes these two women stand out compared to say… Hee Seo or Maria Kotchekova? Well, besides the fact that both of these women aren’t born and raised in the US, they are both ridiculously Russian trained, which is gorgeous, I’m not saying that they are awful. I am saying that they fit previous archetype of what a prima ballerina is. While Hee Seo was groomed to take Julie Kent’s place, Maria Kotchekova became the standard of SFB’s short girl. While Misty Copeland has made the compelling presence and awareness of race in ballet, I don’t think her actual dancing is ground breaking. (sorry, I know I am going to hear shit for that) Then we have other leading women in the US: Carrie Imler at PNB creating the athletic look at PNB, Isabella Boylston at ABT has reinvented the Paloma Herrera, but with better arms. Maria Kowroski is like the Balanchine version of Sylvie. Wendy Whelan created the skinny fit athletic body archetype.

As these two women expand their repertory, who knows what they will create for the ballet world? It’s exciting.
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In other ballet news: ABT: Paloma Herrera is getting a weird farewell with a matinee performance of Giselle, followed by Xiomara Reyes’s farewell at 7:30. Totally getting gipped, but maybe her name just doesn’t sell seats? ABT’s PBS special AMERICAN MASTER Series was beyond gorgeous.
NYCB & SFB: have a ridiculously amount of talented people in the ranks of soloists and corps but won’t be promoted until others retire. *cough cough* hang up the pointe shoes *cough cough*
Paris Opera: Natalie Portman’s Baby Daddy is making amazing moves and changes at POB.
PNB: Please promote Leta already.
Atlanta Ballet: Had the most beautiful end to their season.
Milwaukee Ballet: Their version of Cinderella was an okay finish for the season.
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Little Jessy is prepping for LA BALLET. Her go fund me is still up, any donations will go towards pointe shoes, leotards etc. http://www.gofundme.com/jessylaballet
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Don’t forget to use the code SCIE15 for 15% off Eros Sportswear for Men.
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My guide to fierceness is almost done. Holla for a dolla!

May 15, 2015

Getting Ready For Summer: UPDATE

first issue copy

Totally getting excited as we are getting ready to launch our first issue…
It is a lot of hard work, and truth be told, I don’t know if it is going to come out JUNE 1, but I am hoping.
We have partnered up with some really great advertisers, offering your guys some really great deals!!!

Also, we are on the hunt for good ballet stories, and also, with the success of our GoFundMe Campaign for Jessy, we really would like to help out others. So, any donations made to http://www.gofundme.com/balletblog will now help aspiring ballet students.

If you are an aspiring dancer, or established dancer you can now submit your photos to aballeteducation@gmail.com for your chance to land on the cover of our magazine! That is pretty cool.
When submitting your photo, whether you are dancer, photographer or parent, you need to make sure you have all of the proper legal forms: model release, photographer’s release, and permission for distribution.

Finally, our first mini e-book will be coming out this summer!
THE GUIDE TO FIERCENESS: 10 STEPS TO BECOME A BETTER BALLET DANCER

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Currently watching:

May 11, 2015November 5, 2015

100 POSTS

THANK YOU TO EVERYONE!!

We have officially done 100 Blog Posts.

As we approach our 1 year anniversary…

We have a lot in store and we are so excited.
Thank you all for your support.

May 10, 2015July 4, 2015

For the Moms…

Dear Dance Moms (and dads),

I would just like to take the time today and say thank you. Thank you for forcing us to go to class when we didn’t want to, when we needed the shoulder to cry on because we don’t have perfect turnout, for driving us to and from class everyday, driving us to auditions, paying for summer programs, countless pairs of tights and shoes…. Thank you you for massaging out the knots, for all of the chiropractor appointments, for the sacrificing of the thousands of dollars it takes to study ballet, for rhinestoning all the tutus, for dying all of the random things, for buying me that leotard I needed to stand out at an audition in… Thank you for teaching me how to do a bun, for coming to every show, for paying me to fly all over the world to audition, and buying me those special protein bars that are low carb…

Without you & dad I would have never made it. Even though growing up I would accuse you of being a ballet mom, hovering at the window…

And so on… It is your day and I love and appreciate you.

Now, I would like to take the time and thank my mom who had no clue about ballet for letting me pursue it. Then I would like to thank all of the moms who have helped me on my way. Thank you for all the rides, thank you for all the custom knit leg warmers and warm ups, thank you for all the advice you gave me and thank you for always helping me. I really did have a lot of ballet moms in my life, that I am very grateful for.

I hope all of you mom’s out there have a fantastic MOTHER’S DAY!!!

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Help Send Jessy to a Summer Program!

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A Ballet Education is brought to you by: SOCIAL CULTURE

Mail Chimp, JooMag and Follow That Media

May 2, 2015

Ballet & Relationships

Alina Cojocaru + Roberto Bolle in, Romeo & Juliet
(Wearing her Gayners….) I don’t know who the photo cred goes to but it was on tumblr via ballet-is-our-way-out.

In the never ending epic journey of dating, I have decided that people are like ballet techniques. This post obviously has nothing to do with actual ballet, but I can’t sleep, and it is on my mind. So, we are now going to go through a history of my dating life, explained through ballet vocabulary. Excuse the lack of accents, I don’t want to open up my French keyboard for this post! THIS IS NOT A VOCAB lesson.

My first love was barre. We will call him Rogelio. Relationships that are like barre, well they are home. Cliche? Maybe. But barre is home, and it is safe. It is where we learn the basics, get stronger, learn the most, and are able to focus on minute details on life. Barre starts with plies, super relaxing, comfortable, and you open up. Tendus become exciting, spicy accent ins, dinners (degages) out, romantic fondus, luxurious vacations in ron de jambs, and so on. Derek was definitely barre, so supportive, so understanding, so loving, and always there. Why did Derek and I not work out? I wanted to explore outside of ballet, and he didn’t want to be barre anymore. So, we went our separate ways and are still friends.

My second serious relationship… we will call him… Sebastien, he was like pirouettes. When their on, it feels so good, but it’s so easy to be off, and if you exhaust yourself trying they don’t happen. The idea of twenty pirouettes seems awesome, or 32 fouettes, but… reality… they are just build for stamina. It was difficult with him, so that didn’t last, but you know the type of relationships or guy I am talking about.

After those two relationships, I then had a brief moment with… let’s call him Ernie, and he was totally adagio. Adagio relationships are slow, they build, basic but complex, you find your way through it with solid technique. That foundation gives you the freedom to let go and explore the music and the emotion. He was definitely super artsy. It was dreamy, it was lovely, it was romantic, and intense. The best moment was after a long promenade in attitude, and right when you are about to plie into elonge, you take a big breath and let go into a pure line. It was good stuff. Just not my cup of tea. I lacked the patience to figure out his complexities.

And then there was that moment of Fernando… He was definitely the mirror. The mirror that haunts you. The idea of perfection from afar, but the reminder of how far from perfection you are. The negative remarks, the low blows, the passive aggressive behaviors. It was like the phantom relationship. The idea was good, but it is only a reflection, nothing real, nothing solid. It ovio didn’t last long.

Then there was Jonathan, definitely a waltz. It was pleasant, fun and frilly. Mostly going in circles, but nice to do. I think maybe I went around like 3 times, and then was like no thanks. I need something a tad bit more serious.

Then there was Edgar, and that relationship was like petite allegro– quick, sharp, short, direct, and to the point.

Oh, and I had a first date with a grand allegro, Francisco, and that was only a first date. I learned very fast that relationships that are large, expansive, travel fast, and fly at you aren’t my cup of tea either. Like on the first date calling you babe. -___-

I’ve tried dating younger guys, but they are like chaines, like going in circles, kind of makes you dizzy, and don’t travel very far… Then you find a younger one who seems more mature, and they are like piques and you think you are going some where but it really just moving in a circle. Then you find a younger guy who seems like he is put together but that is like a soutanou and is misleading and you land directly where you started just with the other foot in front.

Ughz, definitely avoid the men who are double tours… those flashy guys who want to buy you. No one care that you took me to Standard for dinner… Like no one. I would have been happy at in and out. Definitely, avoid men who are like pointe work, expecting to you to be on your game, on your box, foot winged and all that… They have too high of expectations—I’ve dated perfectionists like arabesques, but since I am a balanchine fan… we obviously went our separate ways.

And alas I am single. Haha. And yes, I really only date latinos. And yes this 800 word post happened… I’m slightly shamed.

April 21, 2015

OUR FIRST ISSUE EVER… & other news!!!

cover

We are very excited to announce that we will be launching our first interactive online issue in JUNE!

For our readers, it is completely FREE!!

What is an interactive digital magazine?

The world of publishing was drastically changed when the e-book arrived, but it didn’t do well for magazines. As the world of print publishing is dying, a new hybrid magazine has emerged! The interactive digital magazine. We are happy to be sponsored by JooMag, Mail Chimp, and Social Culture to bring you the next phase of a Ballet Education.

If you are a ballet company, business owner, or have a product, now is the time to have your brand featured with us. Cross visibility is the way of the future for marketing. Unlike print advertising and campaigns, the great thing about an interactive digital campaign are the ways to track your return, new clientele and more. You can view everything in our media kit, and see a sample advertisement as well: http://joom.ag/Q1rb

BIG ANNOUNCEMENT!

For all of the parents of male ballet students out there, we are about to launch: www.MANLYballet.com

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April 18, 2015November 5, 2015

Manly Ballet… Part Two

So, you have a beard, you drink independent craft beers, and on the weekends you are hiking, rock climbing or making funny Youtube Videos. What does this all mean? You might just be a ballet dancer, or you might just be one of the thousands of men who are embracing the lumbersexual trend. If you are into this trend, you might be one of the male dancers who drinks overpriced, but luxurious hand crafted espresso, or you might own some top of the line cool bike. Sounds about the majority of the younger male ballet dance population. While in a recent articles of beards and facial hair, a conclusion was drawn that as facial hair is an extremely popular trend, men are now more than ever overcompensating for masculinity (Esquire, Details, GQ, and NYT Style). How does this translate into ballet? It really doesn’t, because most of the time, you have to be clean shaven in performances.

Now, if you aren’t at this point of coolness, and you are still training, or you are a mom/dad reading this trying to prepare your son for ballet… Well, here we go again… MANLYBALLET…

The Dance Belt: Things to Know about Dance Belts

While pro athletes use cups and jock straps, ballet dancers have the feared dance belt. Mostly feared because of it’s thong back, a dance belt offers support and protection for male genitals. Reasoning for the thong back? Because tights, booty shorts and other male ballet costumes are so tight, the avoidance of lines is necessary. Also, dance belts create a smooth clean line in front, so the audience isn’t distracted by lumps and bumps. The Great Debate: Besides Gaynor Mindens, a controversial topic in ballet is how to wear a dance belt. The debate is somewhat like the toilet paper over or under debate. While some men prefer things to face down, others prefer everything to point up. Preference of comfort? Or what actually protects the goods?

What is the purpose of a male ballet dancer?

It seems that the glory always goes to the ballerinas of ballet, but men seem to be the ones who gain notoriety and make a place in history for themselves. Why is this? While balletcompanies need a lavish number of females to stage productions like Swan Lake, and Balanchine glorified ballet as woman… The majority of the population sees female ballet dancers are the epitome of grace and elegance. Male ballet dancers are recognized as athletic and powerful.

It can be argued that male ballet dancers are there to support, lift and partner a woman, but if you took out men from ballet… You have nothing. Even though most ballets are female driven, the male ballet dancer plays a crucial role: The Hero. While feminists who have written in say that this blog is ______(insert any number of words)____, the reality is ballet, as an art form, is the one who is sexist. So, recently, I saw a Southern California, crappy school production of La Slyphide with zero men… I was so confused. Seriously… What if you were to do Swan Lake and take out the men… Who would save Odette? There would be no need for Black Swan, or any other act. Literally we would just be left with a prologue… Wait, not even that. No one would turn her into a swan. I guess we could argue maybe if there were no men in the world, there would no drama? Haha Just kidding.

While new choreographers have utilized men in outstanding ways, and have created vibrant roles for men, the male ballet dancer is still shrouded by mystery.

We know male ballet dancers are just as athletic as any sportsman.

We know that male ballet dancers are just as graceful and musical as any ballerina.

We know that male ballet dancers have some of the most beautiful bodies in art.

Myth: There are more jobs for men and the women in ballet.

Well older ballet teachers say that there are more jobs for men than women in ballet that would be a lie.

There have always been jobs for both men and women in ballet, but unfortunately there are more female students training in ballet making female jobs more competitive. This has slightly shifted. In the 70’s there were more women studying ballet than men. This has shifted due to amazing men, the progression of society and social norms, and brilliant men who weren’t afraid to push the boundaries.

The first generation of super start male ballet dancers included men like Rudolf Nureyev, Edward Villela, Mikhail Baryshnikov, Jacques D’Amboise and Fernando Bujones. They made ballet more accessible and relatable and presented ballet as athletic, powerful and regal. These men ushered in the powerhouse male ballet dancer. This brought us the golden age of ABT: Ethan Stiefal, Angel Corella, Jose Manuel Carreno; Paris Opera’s Manuel Legris and Jose Martinez. Royal’s Carlos Acosta. The tail end of this generation of powerhouses are: Roberto Bolle, Marcelo Gomes, David Hallberg, Steven McCrae etc…

Now there is a new generation of male ballet dancers that have surpassed the technical abilities of everyone previous and have created a new vocabulary of movement, quality, and choreography. This generation we have Daniil Simkin, Jeffery Cirio, Justin Peck, and other really young stars. Most ballet super stars are still in training right now. This gives credit to social media like IG, VINE and YouTube. America is becoming a lot like the Vaganova school in a sense, by prepping superstars at the school level and publicizing them greatly before they even have a job.

April 14, 2015

MARK YOUR CALENDAR: MAY 15

Hee Seo in A Month in the Country, Photo: Marty Sohl via WordPress. — Hee Seo in A Month in the Country, Photo: Marty Sohl
via WordPress.

ABT’S 75TH ANNIVERSARY! CLICK THE LINK BELOW… GORGEOUS VIDEO!!! YOU MIGHT DIE!!!

http://www.wsj.com/video/exclusive-clip-american-ballet-theatre-a-history/52FAA9EA-5642-4E18-AECF-B7E52B56D45A.html

PBS will be adding American Ballet Theatre to their American Masters series! Take a look at 75 years of magic. In the Wall Street Journal it was revealed that footage of Robbins, Balanchine, Agnes de Mille, Tharp, Baryshnikov, Alicia Alonso, and more will be a part of the documentary. Don’t forget, American Ballet Theatre’s 75th Annual Gala is May 18th at the Met.

If you are in NYC April 21 & 22, the Royal Ballet School Exchange and ABT Studio Company Performances are at the Ailey Citigroup Theatre. Tickets are only 20 bucks. Totally worth it. See rising ballet stars dance amazing choreography. Who wouldn’t want to go? Buy tickets here.

April 13, 2015November 5, 2015

So, Your Professional Dance Career Didn’t Work Out – Now What?

By Susie Boyland, contributor

After all the years of training you put in, becoming a professional dancer didn’t work out, and now you have no idea what to do. Living in a cardboard box doesn’t sound like an attractive option…nor does living with your parents for 10 more years…Perhaps injury ended your career prematurely, you just couldn’t find a job, or you realized that as much as you love ballet, you really can’t stand repeating the same 10 seconds of a ballet over and over throughout hours of rehearsal every day. However, if you had your sights set on becoming a ballet dancer, coming to the realizing that your dream career isn’t going to work out can be devastating. So what now? There are many career paths that will allow you to remain in the dance world and use your dance experience without being a dancer in a professional company.

Dancers are disciplined, intelligent, driven, and know how to make a commitment. Plus, being able to smile and look happy while dancing in pointe shoes with toes covered in blisters has its benefits in the outside world: your boss will never know how much you really hate writing those TPS reports (though after you’ve smiled through your fair share of grunt work, be sure to fight for that promotion you deserve!). You also know how to work on a team: after all the hours of going into excruciating detail during corps work in Swan Lake while your teacher screams at you, working on a team project is a piece of cake! And speaking of cake, you now can also have that extra slice without worrying so much about how you’d look in that hideous unitard you might otherwise be wearing in your next performance.

Nevertheless, ballet is a big part of your life and you’re not ready to let it go completely. Good news is you don’t have to! Most of these alternate career options will require a degree (or two…or three) or perhaps some specialized training, but fear not; the time and dedication you put into your ballet training is proof that you have what it takes to succeed in just about any career. Here are five (and a bonus list) of the multitudes of other career options you might consider:

1. Physical Therapist
Let’s be real – all dancers end up in physical therapy at some point or another. Having a physical therapist who does not know a plié from a tendu is about as fun as trying to explain to your non-dancer friends that no, you really cannot miss rehearsal “just this one time” to go to the beach. Dancers will flock to a physical therapist with a dance background as they are hard to come by. Helping other dancers to recover from their injuries could be very satisfying, and the training you will receive in physical therapy school will also help you to deal with your own injuries whenever they arise. Plus, you will ace your anatomy classes, even if you’ve never taken one before. How many other types of people can tell you where the psoas is before hearing about it in an anatomy class? From my experience, not a whole lot.

For those who aren’t opposed to completing many more years of schooling, perhaps a career as an orthopedic surgeon is an option. Every dancer’s worst fear when it comes to surgery is that he or she won’t be able to dance again. Naturally this field is highly specialized and probably isn’t for most, but former dancers who do become surgeons could become highly regarded in this field.

2. Pilates Teacher
Now that we’re done discussing the scary stuff (surgery = yikes!), let’s get back to something we’re more familiar with. Love it or hate it, cross training is essential for injury prevention. Ballet dancers already have an acute sense of awareness when it comes to their bodies, and a pilates teacher who already has this awareness will be able to better meet the needs of his or her students. Chances are you’ve already taken 203942038 pilates classes or thereabouts in your lifetime, so getting your certification shouldn’t be too frightening of a prospect. Yoga is another option too.

3. Nutritionist
While you may now be allowed to have that extra piece of cake, most professional dancers have to be much more wary of what they eat. As you no doubt know, in order to keep your body healthy and functioning at peak physical condition, nutrition is key. For those who already like to eat as healthily as they can, this may seem like an attractive career option. For those who wanted to hide in the back during nutrition class at summer programs, perhaps this idea sounds about as fun as repeating a long adage in the center. In that case, let’s just move on to the next idea…

4. Lighting, Costume, or Set Designer
Jobs that help dancers lead injury-free and healthy lives are great and all, but what you really may be looking for is a way to still be involved in the performance aspect of ballet. Lighting, costumes, and sets are what help to bring a ballet to life. Creating a magical stage environment would simply not be possible without the work of these creative individuals. You already know what does and doesn’t look good on the stage, so you’d be a natural at this!

5. Choreographer or Dance Teacher
These are the most obvious choices for a dancer who has to leave the stage but is not ready to leave the studio. As dancers we have a vast amount of experience with choreographers and teachers, and likely know what we do and don’t like from each. Many dancers choose one or both of these options after retiring from performing, but there’s no reason why these jobs should be reserved only for retired professional dancers. These jobs may not be able to provide full-time work though, so perhaps these options could be a part-time supplement to another full-time job.

Lastly, a bonus list (which by no means includes the rest of your options):

Dance Photographer
Dance Journalist/Reviewer
Actor/Actress
Massage Therapist
Chiropractor
Dancewear or shoe designer
Business management or marketing work for your favorite company

If none of these sound good to you, then another option is to choose a career which is unrelated to the dance world but will provide you with the financial means and free time to enjoy as much dance as you want! In my case, I got an engineering degree (undergrad only) and was able to get a job at a large aerospace corporation in a city with ample dance opportunities. Engineering sounds terrifying, but I’ll let you in on a secret: Ballet is WAY more difficult! My engineering job allows me to have the financial stability and time to take as many classes as I want (whenever injuries don’t prevent me from doing so) and attend professional ballet performances on a regular basis. I know several other pre-professionally trained dancers who did the same thing and are also happy with their decision. Not everyone is math and science oriented, but if you are then perhaps engineering could be a good option for you too. Most engineers are left-brained and logical, but as a dancer you also have an artistic and creative element which can make you stand out. Plus, who knows – maybe you could be the one to come up with a new and revolutionary long-lasting pointe shoe! (One that doesn’t look like a Gaynor…#justsayin)

Each person is different and has his or her own skills and interests, but there is still a bright future for everyone whose dancing dreams didn’t come true in the way they’d hoped. It will take time and effort, but when you think about all the hard work you’ve put in while training as a ballet dancer, it’s tough to think of something that could be more difficult than what you’ve already accomplished. The end of your professional dancing days, even if they never begun, is not really an end, but rather the start of a new dream.

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April 10, 2015May 11, 2015

Ballet Vocabulary: Lesson 1

In the world of ballet, there are three languages. There is the language in which ballet was codified, French. Then there is the language in which interprets ballet, body language backed by emotion. And then there is a language that ballet dancers actually speak, a language of their own, and I’m not talking about French. So, here is the modern vocabulary list every ballet dancer/student should know (part one). These terms you will come across in class, gossiping among your fellow peers in ballet school, blogs like this one, or social media.

Mr. B (noun): AKA, George Balanchine, aka God (just kidding, not really)

The founder of New York City Ballet, and probably the most influential choreographer of the 20th century.

What would Mr. B do?

4 T’s (noun): AKA The Four Temperaments

Choreographed by George Balanchine in 1946 to music by Paul Hindemith.

Dancing 4T’s is really difficult if you aren’t trained Balanchine.

Buiscut (noun or adj):

Dancers with “bad” feet or feet that don’t point.

She has biscuit feet, she’ll never go en pointe.

A La Sebesque, secabesque (noun):

A non existent position in ballet that people with bad technique use. It is a combination of a la seconde, and arabesque.

You are doing a la sebesque dear, you aren’t in jazz class.

Bunhead (noun):

1. A dancer who is overly intense about ballet, to the point where it might be unhealthy.
Maureen is a bunhead, Eva is not.

Snatched (adj):

1. A dancer’s body in peak shape.
Her body is snatched, hence why she is rockin’ a unitard.

Whacked out (adj):
1. Ridiculously flexible
He is so whacked out… but only to the right.

AD (noun) aka Artistic Director:

1. The head of a ballet company.
She only got the part because she is sleeping with the AD.

Leo (noun) aka Leotard:

1. Appropriate ballet attire, made from mesh, nylon, spandex, lycra or another synthetic blend of fabric.
Who wears a white leo to an audition?

________ Hands (_____ (adj) + noun):

1. Spatula Hands: hands that look like spatulas.
2. Oven mitt hands: hands that are shaped like an oven mitt.
3. Hamburger Hands: hands that are shaped like one is holding a hamburger.
She is definitely not getting into SAB because of her spatula hands.

Claws (noun):

1. Hands that have gone through rigorous Balanchine training and are the anti Russian hand.
He has claws, you think he is from SAB?

Nut Season (noun):
1. The part of the season in which one must dance in the annual production of the Nutcracker in which they will be overworked, and over rehearsed. Dancers may cringe, or cry if they are at the mall shopping and the Tchaikovsky score is being played during the holidays. The time of the season in which every dancer wants to quit.
It is Nut Season, I want to die.

Pancaking (verb):
1. The application of a mattifier to match ones skin tone and remove the shine or pink color.
2. When a ballet dancer goes to iHop and dreams of ordering pancakes but orders a salad instead.
Gaynor Mindens should always be pancaked, that way it isn’t obvious you are wearing them.

Floor Barre (noun):

1. An awful, but healthy alternative to taking class. It is the combination of ballet, yoga and pilates.
I would rather do character than floor barre.

This is just part one, and as I compile list two, please feel free to email me for suggestions.

April 10, 2015April 10, 2015

BIG THINGS FOR A BALLET EDUCATION

So, I have decided to launch a few big things for a Ballet Education, and I hope they are helpful… But, unfortunately it will take a little bit of capitol. If you have enjoyed reading my blog, minus the grammar mistakes, you can now donate so I can pay an editor to go back through and edit everything. I just don’t have the time. Even now, I am using SIRI to update this blog while driving to an event in Los Angeles.

Here is what I was thinking…

yes, I would like to publish a book…

COMING SOON... available via iPhone, iPad, Android, Desktop, Digital Download — COMING SOON…
available via iPhone, iPad, Android, Desktop, Digital Download

and yes… I want to release digital books of things that are important…

And I would like to redesign the site.

And I would like to be able to start a youtube channel with how to do real ballet techniques…

Sooooo, if you are interested please donate or email me aballeteducation@gmail.com

Thanks.

April 10, 2015April 19, 2015

5 things your teachers will never tell you… and they should

If you are ages 11+ and you are training in ballet, like seriously training… Not like the, I dance ballet twice a week, supplemented with 4 jazz classes, leaps and turns and competition rehearsals… Like REAL TRAINING… Meaning you are taking at least 3 hours of ballet a day, and you are pushing yourself constantly. You parents are breaking the bank and paying for privates and coaching… You might be aspiring to go the YAGP, (the finals start tomorrow BTW in NYC), you might have your hopes on next years summer programs, or you are going to a summer program this year… This post is dedicated to you… and your parents.

1. “This is not the right place for you.” There are a million different schools out there, and each have their own approach, way of thinking and pedagogy. The reality is that not every body type is meant to dance, every technique. If you are at an ACTUAL super Russian school… Your body has to be gifted with turnout, feet that overly point, and a back that is hyper mobile… If you don’t have all those things… Russian technique is extremely difficult, and your muscles build the wrong way… You get bulky, instead of having that long, rangy Russian look. The reasoning behind this, is that dance studios are businesses and need you to pay the bills. They don’t want to lose students.

2. “You are too good to be here.” Studios again are a business, and so they like to keep dancers around as an “investment”… If your child shows potential, and is the best one at the studio or school, then it is time to move on. Sure, you can still learn things, and become stronger, but the reality is that a student has to challenge themselves. If there isn’t competition in the room, how are they striving to be better? Yes, ballet comes from within oneself, but the reality is, when you are around better dancers, you mentally try harder… Also, you need to be around peers that are at the same level as you, and are experiencing the same things, and struggling with the same things.

3. “You need to diet.” No, I’m not talking about starving yourself. I am talking about what a dancer should actually be eating to ensure a healthy body. The word diet in ballet is so taboo, but the reality is, dancers are burning X amount of calories, and shredding their muscles on a daily basis… So higher proteins, less carbs is a good thing. The amount of fruit and veggies are just generally good, I mean who doesn’t love a detox… Also, eating clean means healthier looking skin, so that is a plus.

4. “Ballet isn’t your thing.” So many times, I have seen girls prepped and primed for the world of ballet, but really they should have pursued jazz or modern. It takes a lot to be a ballet dancer: the right body proportions, the right turn out, the right feet, the right everything… Granted there are variances by company, by AD’s preference, but the reality is…. Turnout, hyper extended knees, a hyper mobile back, and feet that shape well are pretty much required. With the caliber of ballet dancers that schools are cranking out, there really is no room for anything else. If you don’t have all those things, there are other genres that are more relaxed… and if your child LOVES ballet, and dreams to become a professional, than find every possible thing to help make that come true… Private lessons, stretching coaches, pilates, foot stretchers and strengtheners (besides a theraband, but that too!)…

5. “Most of you will not become a prima ballerina. In fact, most of you will not go pro.” Hard reality to accept, but it is the truth. I have gone to some pretty amazing schools, and seen some pretty amazing, technically sound, musical and artistic dancers… but the reality is that most of them did not get a job… Those who do get jobs are BEYOND exceptional… And even those who did get a job in a second company, and then promoted into the first company, most of them were only there four a couple of seasons, if that, and then their contracts weren’t renewed…
From one school I went to in SoCal, which had a very high enrollment, and has produced really great dancers… I think, that 4 eventually went pro out of the senior division, and I think only two are still dancing in major companies. Both are still in the corps…

From another school I went to in SoCal that was a very small school, but offered great training… I think of the 12 students in the highest level, I think 4 of us went professional, but currently only still dances in a major company… still in the corps… I think the rest have gone into teaching… Now CPYB on the other hand… I think like everyone who stuck it out, and pursued dance seriously went pro…

The odds are really slim.

and… to throw in a extra one…

6. “I don’t know.” Very rarely will a teacher admit to something they don’t know. Which is a shame, because no one knows everything about everything. Most teachers very rarely go out and find new ways of teaching, or they don’t bother to go take anatomy courses (unless they go to college) to really explain muscle, ligaments, and tendons… They don’t go out and research how to teach towards ethnic body types, or late starters who’s muscles and bones have already set, or they don’t go out and stay current on how things are done in ballet. Most of them teach the way they were taught, which was passed down from some crazy soviet russian era teacher with a cane… I mean obviously not relevant but whatever. A good teacher goes out constantly in search for new ideas, new ways of approaching technique, and finding the understandings of different body types, ages, etc… (This last post was geared at ballet teachers at random schools, not teachers at professional or pre professional schools.)

April 4, 2015

The Return: A Ballet Education

… I thought I was going to be giving this up, and I thought I would leave my nightly rants to Facebook… BUT THEN a ballet company finally replied to my e-mail, and they did not have anything nice to say… So, with that being said, a Ballet Education is coming back full force… Don’t piss off a gaysian who works in PR. This is going to be fun. A lot of fun. And as it might black list me from ever going to see a performance, and I might lose a bunch of friends in the ballet world… I decided… It is worth it.

A lot of you wrote in why I was selling and stopping… Here is the truth:

I decided to stop a ballet education because despite all of my efforts in posting happy, feel good posts about classical ballets, dance companies and schools… Actual education posts… people really didn’t care to read them. The more honest I was, the more popular the posts became… And I felt that I was giving ballet kind of a bad reputation, despite the truth behind it—

Then, because of this blog major ballet companies wouldn’t consider hiring me for PR & Marketing, despite my proven success track in the world fashion and luxury. (Which I consider going to the ballet to be a luxury (ballet go-ers support the art, so I thought why not?) Even though they sent nice emails saying I wasn’t qualified, a friend had casually mentioned my blog had come up in an east coast conference room. I was like Mother F’rs did I just screw myself over?

Finally, I realized that i was spending way too much time talking about ballet and not enough time in the world of fashion, which pays my bills…

So here is why I am coming back… I’m cutting the BS out of ballet. It is time people starting talking truthfully and not politely… People keep wondering why ballet is dying? Because no one is afraid to say the truth, and well, since I am not going to be in the dance world any time soon… I have nothing to lose. GET READY… because it is coming!!

February 13, 2015

You know you trained Balanchine… pt Deux… You know you have danced Balanchine if…

We have all heard famous stories, infamous quotes, or my personal favorite, “Balanchine Said…” or “Balanchine told me…” For some ballet dancers, they are lucky enough to dance at the School of American Ballet, and have first hand experience with the New York City Ballet Legends… Or, now across the US, numerous schools have added Balanchine Legends to their staff… Yes, legends… There are legends still among us, which walk this earth, turned out, and elegantly. So, after the original post (here) a lot of people had feedback, and well, there is always feedback with this blog… I was originally going to make some snide remark about it all…. but then I asked myself, “What Would Balanchine Do?”

This post is dedicated to the mature Balanchine dancer… You Know You Have Danced Balanchine If…

1. After you have danced a difficult Balanchine role, and your coach, or Balanchine Repetiteur smiles and you know you are on the right track. (Inside you are thinking… Balanchine would be like, “YAAAAS!!! You Better Get It!”)

2. Stravinsky is life. You can’t wait till a Stravinsky Ballet is in the season. Who doesn’t love counting 9’s, 7’s, 13’s and other ridiculously well thought out math equations?

3. You are in open class, and the teacher touches your hand and is like, “Oooh, that’s Balanchine of you….” You know they are trying to insult you, but you are smiling thinking… “Suki Schorer taught me well… Boom.”

4. You know every part of Serenade… Even if you are a man… and we all know that everyone, male or female wants to dance one of the leading ladies… Don’t lie.

5. You learn a new Balanchine ballet, and you are like, “Balanchine is Boss.” (You might thinking the song big pimpin’ was inspired by Balanchine… Just Kidding.)

6. That moment you are asked to improv, or make something your own and you ask yourself, “What would Balanchine do?”

7. You are working on a Balanchine ballet, and you try your own thing (after a very long restless night of it haunting you) and whoever is setting the ballet is like, “No.” And then you start beating yourself up.

8. You have to get through a ridiculously hard ballet, that requires a ridiculous amount of stamina, in a ridiculous short time… And you think, “What was he thinking?” You know that he is brilliant, and that he is genius, but you stop and think, “I wonder if he did this just to mess with his dancers’ psyche, and then they pulled it off, so he kept it?” or “WHYYYY BALANCHINE…WHY?!”

9. That night before casting goes up, you have been busting your butt off in rehearsals and learning the ballet… and right before you go to bed you are like, “Dear Mr. B…”

10. That moment after the casting goes up for a Balanchine Ballet…

September 23, 2014

Raymonda… wtf

Seriously, wtf. In the world of ballet, there are tons of ballets that have been forgotten: the Pharaoh’s Daughter, Harlequinade, Les Saisons, and Le Daible Amoureux/Satanella (most noted for the Carnival de Venice Pas de deux). Regarldess, ballets become irrelevant, and forgotten about, maybe snippets and excerpts survive. Then there is Raymonda… Raymonda is the gigantic beast of a ballet. Longer than the full length Sleeping Beauty, the full length Raymonda consists of 3 acts and 4 scenes, and apotheosis. No wonder why it died, who could sit through all of that? Not to mention, that it kills the ballerina… She has four/five variations, depending on the production. No only does she have an absurd task of carrying an entire ballet, but her plethora of variations are some of the most difficult variations ever.

In Act 1, she has two variations. The first is the pizzicato variation which is light, charming but still rather difficult with all of the hops on pointe. Then in the same act she is challenged with the vision variation involving a long piece of fabric.

Then in Act 2 she has the pas d’action variation she has to conquer the “big” variation. This is the adagio variation that many girls use for competition because of the control a ballerina has to have. Seriously… if you don’t know what I am talking about go watch it via youtube. She then has another variation in the later scene of the act that has a bunch of dazzling turns, and a punch of entrechatquatres on pointe… Yeah, if that wasn’t enough…

Then in Act 3 she has her clapping variation, which kind of requires the ballerina to have good feet. The variation mainly consists of bourres and some feisty passes, but I mean after all of that dancing what else can you do on pointe… Yeah it is kind of insane.

The variations are difficult enough, but there is quite a bit of dancing for the other leads as well. Raymonda is like this huge hodge podge of everything in classical ballet. Most people really only the pas de dix, or the Balanchine version that uses the same music for a corps and one couple. And thank god, there is are so many character dances. I have never seen it full length but own two different DVD versions, and every time I try to sit down and watch it all the way through… I fall asleep.

So, what is so special about Raymonda, and why do young girls still do the variations on the international competition stage? Well, I am glad you asked… Well, you didn’t… But I think what makes these variations special is that they are a part of a bigger picture. As Swan Lake challenges the ballerina to be dynamic in two ways, Raymonda challenges the ballerina in five ways. Additionally, each variation is quite challenging, not because there are 5, but because each variation is exceptionally long compared to most variations. In the 3rd act variation, Raymonda now has a sense of maturity, authority and because the majority of the variation is bourres the ballerina has to be enchanting. In the big variation of act 2, the ballerina has to posses a weightless quality that is effortless and charming. Not to mention we all want to see leg up!

Also, in the supporting role of Henriette, 3 masterful variations are presented as well. In act one a long difficult and delicate variation is presented. In act 2, a sultry and provocative variation is delivered. And finally, in the third a playful spritely variation is executed.