100 POSTS

a Ballet Education Celebrates 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.

you know you are a ballet dancer if a ballet education

Vaganova School A Ballet Education

a ballet education balanchine

Dear Mr B

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Ballet Vocabulary: Lesson 1

A Ballet Education the best ballet schools

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)

  1. 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

  1. 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):

  1. 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):

  1. 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.

BIG THINGS FOR A BALLET EDUCATION

ballet1

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…

book cover mock up

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.

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!! 

And the prize goes to…. Not you.

And the winner of this year’s (enter competition) goes to… (a name that is not yours)

Singapore Genee International Ballet Competition

The Competition in ballet is stiff.

From a young age we develop a natural since of competition, call it… survival of the fittest. We naturally compare things, and ask why. The development is natural…. Now, apply it to ballet or any sport, and that “instinct” becomes crazy, psychotic, self-defeating, and neurotic trait…

So, you might be thinking this post is about ballet competitions, but it really isn’t. It is about rejection. Unfortunately, there are thousands of dancers each year competing for very few jobs. First off, if you didn’t get the job, didn’t make it through a round of auditions and got cut, or if you lost… If the first thing you think is, “She didn’t deserve it.” Or, “Why did she get it? She isn’t even that good.” You probably have no business being a ballet dancer, and you are probably an awful person. 

So, where does this all begin… Oh yeah, the classroom. Remember when you were the best at your small school, and your teacher would say, “Little (insert your name) please demonstrate the combination.” Back then everyone would watch you, and you would still hang out. Little did you know they hated you, and probably called you teacher’s pet behind your back. Then, you end up a professional or pre professional school and you are the new kid, and probably one of the worst ones there. At this phase you are constantly comparing yourself to others. “Is my leg as high as hers? Am I turned out as much as she is.” And then you see that someone has ridiculous feet and you are like FML… Yup… Then you are constantly looking at yourself and others. You make lifelong friends at these prestigious schools, and then sometime during Junior/Senior year… You realize… We are all competing for the same jobs, and those lifelong friends are now in the same room auditioning as you. All of those comparisons you had in class became a reality and you are fighting… 

Sometime later in life, you realize that it wasn’t about the competition with others, and you should have spent more time competing with yourself. Perfecting your craft, your body, and exploring your artistry. I look at the little prodigy Daniil Simkin who was trained privately his whole life, and it did him good. I wonder if more dancers were trained privately if they would be more successful? (insert comments below)

Now, you didn’t get the job, or you didn’t win the gold medal… now what? It is time re-evaluate what just happened. At a ballet competition, they are truly looking for the most potential a student has to offer. Potential being categorized as technique, facility, musicality. As an adult, and someone seeking a ballet job… No one really cares about how much potential you have… They care about where you are at in your artistic career and what you have to offer. This is all based on strength, consistency, artistry, and a solid technique. Now, if you have all those things, and you didn’t get the job… You need to look at what the director was looking for.

Unfortunately, a repertory season is planned prior, and so the director already knows how many dancers he needs and can afford for his company. (Give or take second company members, apprentices and top level trainees.) Most people forget during an audition that there are very few limited spaces, and if a director has one spot open, he/she probably knows exactly who they are looking for. 

So, what can you do? Keep training until next season, throw in the towel and go to college, or you can restructure yourself as a dancer. I think the third is always the best option. It isn’t that I doubt your training, but if you consistently keep doing the same thing over and over, you aren’t going to grow as an artist, or change as a person, or refine much of anything. Restructuring yourself as a dancer means approaching your technique differently, changing your thought process at barre and center, figuring out new ways to hear music, and changing the quality of your dancing. These types of things makes a dancer better, versatile and adaptable. Teachers always ask for very specific things, and sometimes we don’t follow them, not on purpose, just because we have been doing it a different way our whole lives, and we miss that special nuance that might make or break your audition.

Also, I believe that if you want to dance, there is a place for you. Your dream might have been New York City Ballet, but maybe you didn’t have the right body type that Peter Martins was looking for that year. Then, maybe PNB, Miami and San Fran only were looking for boys. But most people don’t think of looking at regional companies, even if it is just for a season… like Cincinnati, Sacramento, and Nevada Ballet Theatre. Which, you just might be perfect for. You really never know. After a year at a smaller company, and restructure your dancing… you might just end up at San Fran or Houston. Or, you might end up loving the smaller company, and dance lead roles in two years, which at a bigger company you might never get to dance. Regardless, rejection is going to happen, but it is how you deal with it that makes you a stronger dancer. Whether you are a student and didn’t get into a school or summer program, if you are trying to get a job in a company, you competed and lost, or you are in a company and didn’t get cast for a role, the point is… it happens… Embrace it.