dance life – A Ballet Education

July 23, 2019August 6, 2019

21 Year-Round Programs

21 Programs You Don't Want To Miss Out On!

By now, summer intensives have rounded out their invitations to their year round programs. Now, dozens of hopeful ballet dancers are joining the most elite schools around the world. For those who weren’t asked to stay for the year, the stress sets in about what to do next season. You start to wonder, “Are you are ready to year round, if you are good enough, or if you were prepared?” Yup, all these questions are rambling through our heads causing stress. Parents are thinking or starting to doubt choices from last year, and now the new season is upon us. It also doesn’t help YAGP registration just opened and it seems that half of the venues filled up in three days. Yes, the stress of ballet sets in again. What we thought was a summer break now seems to have disappeared and year-round contracts are due again, Nutcracker auditions are around the corner, and you still don’t have a clear plan. Don’t fret. If you are looking to join a school, here are 20 places to train at this year. Each school offers exceptional training, guidance, and is structured towards a professional career in ballet. These schools are NOT affiliated to a company, but offer amazing training.

(These are listed in no particular order, with the exception of the first)

The Ballet Clinic, Phoenix, AZ

If you are looking for a place to train at in Arizona, I still have spots open at the clinic. I am looking for students ages 8-11, and 11-13, and 14+. Each group is focused and designed around a specific look, body type, and career path. At Clinic we arrange everything for you, from competition, auditions, audition photos, videos, etc. Additionally, we are focused on finding dancers jobs, and preparing them to go into pre-professional schools. We focus each class in Balanchine, Russian, English and French technique. Each week has a different focus, and the fourth week of each month emphasizes contemporary with a guest residency. There are very few spots left in each grouping, but if you are interested in training with me, you can apply here:

www.TheBalletClinic.com

Golden State Ballet and Pilates, San Diego, CA
GSBP might be young, but the directors are no strangers to the dance world. Once a Miami City Ballet Ballerina and Boston Ballet dancer, they hosted their first summer intensive bringing in Jaime Diaz (SFB) and Andre Silva (TBT). Their program is a full range from creative movement to professional (ages 3-20). Their pre-professional program includes pilates apparatus, rigorous pointe work, pas de deux and performing. The style is a healthy blend of Balanchine musicality and precision with a strong classical Cuban/Russian base. http://gsballetpilates.com

Burbank Dance Academy, Burbank, CA
Headed by Jason Coosner, Burbank Dance Academy is a rising force in the LA Dance scene. This selective program includes everything from jazz and contemporary to pre-professional ballet. The program is designed around versatility and possibilities. The rigor of this program includes multiple hours. Jason just won outstanding choreographer at YAGP Los Angeles. Check out his program at www.burbankdanceacademy.com

Elite Classical Coaching, Frisco, TX
Texas is big, and while company schools dominate Texas, Elite Classical Coaching under Catherine Lewellen is a force to be reckoned with. Elite Classical Coaching’s program is extremely elite, as she hand selects students to be grouped together. This program is rigorous and effective, and has produced a stunning set of dancers including YAGP Finals medalist Ava Arbuckle.
https://eliteclassicalcoaching.com/

Maryland Youth Ballet, Silversprings, MD
Under a new director, Maryland Youth Ballet has ramped up even more under Olivier Munoz, formerly at Orlando Ballet School. The school focuses on clean and technique and performs several times a year.
http://marylandyouthballet.org

Ellison Ballet, New York, NY
This coveted award winning school just held their year round audition but is still accepting video auditions until August 1. This elite program requires applicants to be ages 12-19 to join this coveted Russian-based school.
https://www.ellisonballet.com

International City School of Ballet, Atlanta, GA
Another award winning school with amazing training. and over 10 years of winning and working dancers, headed by Georné Aucoin and Musashi Alvarez. This award winning duo has been turning out strong consistent dancers in a program that is individualized an intense. The one on one training is some of the best out there. Their dancers are easily recognizable by their strong technique, finessed legs, and musical nuances.
https://www.icsballet.org

The Rock School, Philadelphia, PA
This school has stood the test of time. Each generation brings a new look, a new style and a new passion under Bo and Stephanie Spassoff. This institution has been a long part, if not the original competitive ballet school. With their ferocious training, and wonderful studios, the Rock School for Dance Education still is a thriving and contributing school in the ballet landscape.
https://www.therockschool.org/

Sultanov Russian Ballet Academy, Beaverton, OR
This power house of a school has made their way onto the scene through persistence and clean technique. Headed by Artur Sultanov, a Vaganova Ballet Academy graduate and Eifman Soloist, this director has curated one of the strongest schools on the west coast.
http://www.russianballetacademy.net/faculty/

The Sarasota Cuban Ballet School, Sarasota, FL
This Cuban Ballet school made big splashes this year with Harold Mendez. But they have been known for strong cuban training, especially for boys. Headed by award winning Ariel Serrano and Wilmian Hernandez, this school is a fully enriched program for Cuban technique.
http://srqcubanballet.com

Cary Ballet Conservatory, Cary, North Carolina
Cary Ballet is headed by Suzanne Laliberté Thomas and was founded over 18 years ago. But, Cary Conservatory’s real powerhouse is Mariaelena Ruiz, 2019’s YAGP outstanding Teacher. The former Rock coach has coached some of the most talented winner of the YAGP and many other competitions. She herself is a Varna winner, USA IBC Jackson winner, and Prix Volinine. Their professional division includes numerous classes, cross training and more.
https://www.caryballet.com/professional-training-program.html

Master Ballet Academy, Scottsdale, AZ
This power house school has made it’s name on beautiful bodies and the ability to turn. Headed by Slawomir and Irena Wozniak, Master Ballet Academy recruits students from ages 11+ to train in Russian technique. With numerous winners of the YAGP, Master Ballet Academy continues to dominate on social media.
http://masterballetacademy.com

Indiana Ballet Conservatory, Indianapolis, IN

http://indianaballetconservatory.org

International Ballet School, Littleton, CO
http://internationalballetschool.net

A & A Ballet, Chicago, IL
https://www.aacenterfordance.org

V & T Classical Ballet, OC, CA
Headed by Victor and Tatiana Kasatsky, V and T is a force to be reckoned with. A long time staple in the Southern California dance scene, V and T has produced winners to the YAGP, Prix de Lausanne, and Varna. Coined as Orange County’s Premier Ballet program V and T is a classical force of nature.
http://vandtdance.com

Central Pennsylvania Youth Ballet, Carlisle, PA
The legendary CPYB is always a great place to train, especially if you are on that Balanchine route.
www.cpyb.org

Feijoo Ballet School, Dickinson, TX
Another Cuban school has popped up, but this one is in Texas headed by the renowned sister ballerinas Lorna and Lorena Feijoo. This ballet school is curating something new in Texas. While Texas has been dominated by Russian/Classical Training or Balanchine technique this new school is offering a new take and appealing to the latin communities in Texas.
https://www.feijooballetschool.com/school

Ballet Academy East, NYC, NY
http://balletacademyeast.com

Kirov Academy DC, Washington DC
https://kirovacademydc.org

The Rock Center for Dance, Las Vegas, NV
Power houses in contemporary and standout at the dance awards, and World of Dance, this new school is dominating the contemporary and commercial scene. What people often forget is that their ballet program is also nice and quite rigorous.
https://www.therockcenterfordance.com

This Week In Ballet…

It is the first week of 2018, and it already has me thinking… a lot. Between Peter Martins retiring, YAGP Philadelphia being postponed, YAGP Seattle underway, new job offers, new job titles and the pressure of ballet building… it has really made me start to think about a life outside of ballet. Don’t forget you can watch live streams of the YAGP… you have to pay… but it’s enjoyable.

Let us recap A Ballet Education’s Ups and Downs of 2017…
January: I left a job that was basically a lie and the board was stealing. Found out my blog was ranked number 2 as a dance resource and ballet blog in the world, over the Gaurdian, NYT, and Pointe.
February: Depressed.

March: YAGP FINALS, developped a tremor in my hand and body, quit drinking
April: Blogging and Writing, went Gluten Free
May: Master Teaching Everywhere, became a Red Bubble Top Seller
June: Offered the Job at American National Ballet, met some really great people.
July: Master Teaching at Masters,
August: Moved to Charleston… mid August- left ANB, went Vegetarian
September: Blogging and Writing and Teaching Everywhere, made it one year of the magazine.

October: Given the Chance to work at Phoenix Ballet, got screwed over by close friends, went Vegan
November: Guest taught more, wrote more, traveled to a million places… Worked on my getting my children’s book out there again… fail.

December: Survived 16 shows of Nutcracker as Executive Director, photographer, Guild Coordinator, celebrated Christmas with my family… barely wrote. Lost a ton of weight.

Don’t get me wrong, I saw a lot of great ballet and had amazing opportunities. I am just glad I can look back at 2017 and be done with it.

… now onto January 2018

So far, I have found out that my blog is now Ranked Number 1.
I was given the chance to freelance work in fashion again, and enjoyed it. I have only had two flights delayed, one in which I canceled. Given the chance to buyout of my place in Charleston, which I haven’t been to 3 months. I miss my bed, my clothes, my books. Now I have to figure out those logistics. Mmmm, signed two cool deals that will launch in March.

Decided to cut back on teaching this year and focus on the things that I want in life… And it is only day 5, so I can’t really say it is that great of an accomplishment, but I quit smoking. Have turned into a raging b*tch… But decided since my tremor hasn’t come back to attempt the gym and ballet classes again…

May 2, 2016

What is going on in ballet?

Now that I have caught up on work… I’ve had time to reflect on the YAGP… and other things…

So, you went to a good school… big whoop. So did a million other kids, and guess what? Their careers didn’t turn out how they thought they would… Hahaha I make myself laugh. The world of ballet is going through a big change, and in America the change is happening rather fast…. So before we list off the BIG TEN, like we do every Summer… I would like to talk about the changes that are happening in American Ballet, well with all the changes happening… I don’t know much longer we will have American Ballet… In fact, I don’t know how long ballet is going to be a choice… I remember when I was auditioning, as a boy… if you had a solid triple pirouette right and left, an easy double tour, and clean technique… you would get into a company. Yup, it was that easy… I mean it helped if you had beautiful body proportions, and it would help if you were flexible… But the reality is… You really needed just that. Nowadays, that doesn’t cut it for a boy… You have to be extremely flexible, have more than four pirouettes, and be musically gifted.This next generation proved that at the YAGP this year with killer technique, crazy tricks, and be primed for principal’s musicality.

https://www.facebook.com/YouthAmericaGrandPrix/

This year at the YAGP, Joon Hyuk Jun won the overall Grand Prix, which isn’t a surprise. In 2014 he did well in Lausanne and landed him a spot a Royal Ballet Upper School. Additionally, if he didn’t win the YAGP this year, I am pretty sure he hasn’t medalled as a senior competitor… He would be joining the Korean Army for two years. Yup, it’s that serious for Koreans. It is why there are so many applicants at every competition. In order for a male to avoid joining the army for two years, they have to medal first or second at an international competition recognized by the Korean government.

So, with that being said, something is happening in ballet… The age of the baby ballerina is coming back… Young superstars are proving their self-worth via social media and now the guest artist position. A lot of superstars in ballet aren’t even joining companies, they are going from gala to gala, and company to company guesting. Additionally, this is affecting how students are taking class, and the overall goals for ballet students. Around the world, I’ve seen it all over social media, the demand for superb technique, and extraordinary body lines is higher than ever… There is also a demand for artistic superiority and maturity that used to be excused in young dancers, but now… even that is being conquered…

The ballet talent is overwhelming… and the maturity and artistry is growing… The issue now? Jobs… Jobs are very few to begin with in ballet, but now, there is so much talent, there is no room for error, or mistakes, or lack of technique. Everyone is gifted, everyone is has beautiful feet, everyone has extraordinary body proportions… It means that, the world of ballet is becoming smaller, and even more elite. And this isn’t helping the world of ethnicity either… While Asian countries have been constantly adapting to the Russian school of technique because it works on their bodies, Asian countries have been putting out amazing potential… America has yet to overall put out one unique style, but the next generation of ballet dancers have already dictated what the “ballet look” is going to be… and that is: Hypermobile, Russian-trained talent.

This starts the debate between a ballet school and a finishing school… a lot of these elite schools around the world are now turning into finishing schools, while other schools are focused on the actual idea of teaching technique. A Ballet School is a facility supported by the faculty on teaching the basic ballet vocabulary through the advanced ballet vocabulary the best way they know how… While a finishing school, students are already expected to have a strong ballet vocabulary, and the focus is on pas de deux, variations, performance and quality… (dance studios… well we can talk about that later)

That is the thing, ballet comes in waves, and this wave of new talent, and this next generation of ballet dancers is going to be weeding out any slight chance of imperfection because… everyone is coming out of the woodworks with talent… This year at the YAGP… it was pretty obvious that everyone there was going to be getting a job, and taking away from the possibilities of “cattle calls”…

If you look at what American companies are hiring at the moment… from this season’s mid hires, to who they let go at the end of this season, to who they have announced in their new 2016-2017 rosters… It isn’t looking very good… Not to mention… it is taking away jobs from Americans… but that is a little too political for my blog lol…While a lot of these students are coming from the companies’ home schools, most of these new hires were recruited from a competition in the previous years and they spent a year or two finishing. It is scary, because as I was hopeful for Paris Opera, they did not like the direction of Benjamin Millipede (POB trained but finished at SAB), and have tapped the super classical and super talented, female powerhouse Etoile: Auralie Dupont. PA Ballet took on Angel Corella (which as well all know, I disliked) and that has forced out numerous Balanchine dancers and he has hired all Latin dancers… Which is probably good because PA could use a little color. The shift is a cause from Artistic Directors looking at the future of ballet. Corps de ballet members are no longer becoming viable despite the experience as a seasoned corps dancer, as the corps is now becoming filled with exceptional talent: stronger body lines, more hypermobile bodies, and the sad part… these able bodies are disposable as directors can now just post on social media what they are looking for and hundreds of bodies will respond. It is scary to be dreaming of being a ballet dancer right now… because as much as you want it, if your body is not an “exceptional” body… It might not happen for you… just bad timing with the wave of talent… In Europe bodies are hand picked, but now in America, “exceptional” bodies are becoming more and more apparent because there is such a diverse and accessible levels of training throughout the US.

With that being said, as the list get composed for the BIG 10, I am going to be focusing on identifying the school as being a Ballet School or Finishing School… Since all of the major ballet competitions have wrapped up, I can now start adding data up, and going over what school graduates will be joining what companies… It is a long process, but it is worth doing… But remember, these lists are totally subjective…

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March 24, 2016March 24, 2016

CORPS DE BALLET CONFESSIONAL: Alaia Rogers-Maman

If you follow ballet competitions and the budding young talent in the ballet world, you have heard of her. Her photos are all over Instagram, and her videos have been watched thousands of times. After starting late compared to most ballerinas, she secured a spot in the variation selections at the Prix de Lausanne at the age of 15, and then a spot at the Royal Ballet Upper School… Alaia Rogers Maman is proving herself to be a force of nature in ballet. She is now a corps de ballet member at the prestigious Vienna State Opera Ballet Company. She may be young, but she already has a very defined sense of musicality and intensity. Alaia was super great to chat with over Instagram and Facebook to secure our next Corps de Ballet Confessional.

So, let’s begin:

Name: Alaia Rogers, although my full name is Alaia Rogers-Maman and that is what is listed in Prix de Lausanne blogs and the company’s site
Website: No website yet although I think it’s a project I would really enjoy , updating it with content and blog posts , I just haven’t gotten around to it and I’m not sure anyone would actually read it 🙂
(I’m sure we would all follow it)
Insta: alaiarogers
Company: Wiener Staatsballett -translated Vienna state opera ballet-click here for website
Company Position: Corps de ballet , 2nd season , first company (click here for her company profile)

Ballet Education: I trained with many different teachers and schools , but I would credit my most influential training to Magaly Suarez her school is “The Art of Classical Ballet” in Pompano Beach, Florida. She really changed me as a dancer and made the idea of me becoming a professional dancer into a realistic possibility. Going to the Prix de Lausanne and getting the scholarship to Royal Ballet School was something I never thought I could achieve before her training . So my education in dance I would attribute to her and the royal ballet upper school .

Age: 19
Height: 5’7.5” or 165.7 CM

How do you drink your coffee?
Coffee – latte no sugar … I love my Nespresso machine

What is your favorite dessert?
Dessert – that is a tough one, I love dark chocolate especially with sea salt or pistachio filling

You went to Royal Ballet upper school, what was that like?
RBS was a trying and wonderful experience. I think that you can find great ballet teachers all over the world but at RBS it is more than the teachers it’s level of talent from the students and the comprehensive education provided. Ms. Stock traveled the world searching for the dancers with the greatest potential and then put them all in the same class. I think that might be what made me improve the most there was being inspired and challenged by my classmates . The pas de deux education there is phenomenal , the boys are of such a high standard and our teacher Mr.Pakri made us understand all of the technical aspects and taught us to trust our partners and be there for each other. The education on ballet history , physiotherapy , character dance, arts funding, and all stages and roles within the choreographic process were taught in great depth. It was also a trying time lots of changes were taking place as Ms.stock made her departure from the school. It was very sad to see her go and later hear I of her illness.

What was it like trying to find a job?
Finding a job was a bit scary at first especially when you see how many candidates show up to an open audition. You really think how are they even going to see me in this sea of girls. Also, there are only a few spaces available to dancers each season, I felt like all the odds were against me. I think doing your research is important, to look for a company where you can see yourself fitting into the repertory

What was your dream company when you are 15?
I think I had a few dream companies at 15 , Paris Opera and ABT were definitely at the top though

What is it like dancing at the Vienna State Opera?
It’s incredible to work here in Vienna . The opera house is beautiful and I love curtain calls when you can just look out into the beautiful theater and take it all in. The Viennese people are huge fans of the opera and ballet and we are always performing for packed audiences. My director is Manuel Legris (former etoile at Paris Opera) and he has a never-ending wealth of knowledge to share with us. We have such a diverse group of super talented dancers which I feel lucky to be a part of. I really believe this is one of the best places to work in ballet. Few companies have our diverse and exciting rep paired with great dancers and a world-class director.

How often do you perform?
Our performance schedule varies month to month, but I would say on average about 85 shows per year here in Vienna .

What are you currently rehearsing?
Onegin, Le Corsaire by Manuel Legris, Marie Antoinette by Patrick de Bana, snow queen by Micheal Corder , and soon we start with Mayerling.

How does time off work at an Opera House?
Our company is different than most we don’t have scheduled Christmas or mid season breaks. They try to give everyone their free days when possible based on the programs you are cast in. At times, it can a bit annoying because it’s hard to make plans for vacation or family with little notice but when we all get two months of holidays in summer it makes up for it .

What are some of the pressures of being in a ballet school compared to being in a company?
Ballet school, although at the time, I felt was stressful really isn’t in comparison to being in a company. In school you and your classmates are all practically on the same level it’s like a mini company where you are all the same rank. In school, your teachers are so invested in you and are constantly giving you feedback and you have hours of rehearsal time and you know exactly what you are going to dance and when. In a company you get very little feedback about your personal progress and have to motivate and assess yourself. You also are preparing multiple pieces at one time with limited rehearsals and have to be prepared to jump into other roles, with maybe only 30 minutes notice and hopefully ONE rehearsal. School years were golden years with lots of nurturing and friendships combined with hard work. In the company it is different, but once you adjust you really enjoy the diversity of the things you dance, the mentorship of more experienced dancers, and the feeling that with each role you really can explore your artistry and grow.

What are some of the relationships you develop in the corps de ballet?
Well, you develop great relationships. Dancing with a new partners you forge friendships with people you wouldn’t have become friends with otherwise. Also, when you work on a piece that has been in the rep for years and it’s your first time dancing it the more experienced dancers can really help you along the way. I think you can learn a lot from dancers in the corps de ballet there are really young dancers, dancers starting to get their first big opportunities , dancers who have been in the company for more than a decade , and super moms who somehow manage this crazy time and energy consuming profession with motherhood. So you make all sorts of friends in corps.

What is the biggest difference between European dancers and American Dancers?
I think to compare European dancers and American dancers it is not really possible because British, French and Danish dancers are completely different already. I can only comment on the things I felt I had to change myself once I started dancing in Europe . My wrists, they often dropped and didn’t always elongate my line, finding more light and shade in my dancing playing more with the musicality.

When you were a student, what was the hardest thing for you?
Being a student, I think the hardest thing for me was mental. I started ballet quite late and I was always the underdog or the one who had potential but was behind the other students. Mentally, it was often hard to believe I had progressed enough to do well in a competition or be able to stand out in a group of my talented peers, my confidence wasn’t always on the same level as my capability.

Technically? Mentally? Injury Prone to?
Technically I had struggles too but every student and professional does.

I really believe that if you eat, sleep , and work properly you can avoid most injuries . I have been very lucky I have had only very minor injuries. It’s shocking how many dancers as they get older and start a professional career do so little to warm up.

What is in your dance bag?
My dance bag is huge – lots of Bloch point shoes , theraband, box cutters, sports wrap, chapstick, sewing kit , jet glue , icy hot , leg warmers, rehearsal skirt, shorts , ballet flats, foot spray , sisscors, scotch tape , lambs wool toe pads, my keys and phone

What is your dream role?
I have many roles I aspire to. I would love to dance a dramatic role like Tatiana in Onegin , Marguerite in Lady of the Camillas , or Esmeralda in Notre Dame.

What do you want out of your ballet career?
I think I am a very ambitious person , and I want out of ballet what I would want out of any other career I could choose . To continue to improve, to be challenged, not to plateau, to always be working toward something. Ballet is wonderful because you can always grow more. Even the best of the best can continue to work, explore, and create. I love feeling that each class or performance was an improvement on the last.

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Don’t forget tickets to the FINALS for the YAGP are on sale! If you are in NYC- get them now! Click here!

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Love the Corps De Ballet Confessional? Check out our first one with San Fran Ballet’s Julia Rowe. Are you a corps member and interested in being interviewed? Email me aballeteducation@gmail.com
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December 5, 2015

Previews

With a week away, I am almost done fundraising everything I need to… We just need to raise about $1,000 dollars by tomorrow. Everyone has worked extremely hard to put this show together. I really hope you could find it in your hearts to support the ballet company and school. Greatly appreciated.

David King, Artistic Director of Redlands Dance Theatre
www.RedlandsDanceTheatre.org

November 23, 2015

You Know it’s Nutcracker Season when…

Between the holiday Starbucks cup fiasco and preparing for Black Friday sales, the ballet world is faced with our dreaded but magical annual tradition of The Nutcracker. Every year around this time, whether it be at Starbucks, the bank or even at some retail store, I am standing around and then it comes on the speakers. That dreadful tune that ushers in the holiday season. While the majority of the world associates it with that one song from that one commercial, ballet dancers around the world hear it and immediately identify the composer, the act, the choreography and the costumes. Yes, it is the Nutcracker. Recently, I was standing in line with my pas de deux partner, and the music for Snow Pas came on. While it is one of the most beautiful pieces composes for the Nutcracker, we immediately looked at each other with fear in our eyes. Yes, fear. We had just started rehearsals with new choreography knowing that the show goes up in three weeks. We both haven’t been on stage for more than four years, and we immediately decided to order skinny lattes knowing we are about to be in white tights. So, in the tradition of Nutcracker, and in a Ballet Education’s five things…

You Know It’s Nutcracker When…
1. You hear Nutcracker music outside of ballet and want to kill yourself.
2. 1/3 of your company is injured, or battling tendonitis but still powering through ridiculously long rehearsals that you don’t want to be in.
3. You know every part of Nutcracker, but still are forced to rehearse, clean and tech it all. In fact, you have probably danced every part of Nutcracker at some point of your life.
4. This time of the year everyone is all about the holiday cheer and festivities, but you are the most tired you have ever been. You want to crawl into a ball and die. You still have to rehearse everything else outside of Nutcracker for the upcoming season’s bills, so your mind is on overload. It is just yucky.
5. You are a boy, and its Nut season and all you want to do is be Kyra Nichols as Dewdrop. Yes, you want to be Balanchine’s infamous Dewdrop and dance the most beautiful entrances, have the most swayed back ever, and dance to the loveliest of music.

Here are some of last year’s Nutcracker Posts:
THE BEAST THAT IS THE NUTCRACKER

5 AWFUL REALITIES OF NUTCRACKER

THE NUTTINESS OF NUTCRACKER

August 22, 2015

Why you shouldn’t put your kid into ballet…

I have seen all of these posts about why you should put your kid into ballet. With reasons like: smarter, more successful, better workers and so on, after doing some research, these articles were based on dancers who are now retired… Not students… As RDT has been attracting dancers around Souther California at all different levels of training and different age groups, I have been having a lot of meetings with parents. This is not a formulated post, nor is it based on extreme research, but rather my experiences as a teacher, dancer, and student. It isn’t that ballet makes people better workers; sure, ballet creates a rigorous work ethic, but that is because I have noticed a lot of ballet dancers have the same personality traits. For girls, personality traits I have noticed that are common among successful ballet students are:

-Slightly introverted, as they are able to consciously have an internal monologue with themselves. Totally helps with developing their artistry.
-Slightly OCD, from the way they sew their shoes, to performance rituals, how they make their bed, or how they have their things organized in their houses. Totally gears themselves for the long haul and rigor of ballet.
-Double egos, one personality is extremely introverted, self conscious, and overly critical which is compensated by being extremely extroverted, fun, ability to goof off, and more.
-Extremely smart. You can’t be dumb and dance ballet, I mean seriously, you just can’t. I have said it a billion times.

For boys I have noticed that the thing they have in common is their extreme confidence, and ego. I don’t know if it is a good thing or a bad thing, but I guess for a boy, you do have to have a thick skin to grow up dancing in tights.
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Recently, a mom of a five year old came in to the studios. She wanted her daughter to dance anywhere between 15-20 hours a week. I laughed. I didn’t mean to, that was rude of me. But no five year old should be in the studio for that long. Seriously, what is a five year old going to do for that long? If the average advanced training schedule is five days a week, consisting of a typical 1.5 hour class, 1 hour pointe class and 1 hour misc. pas de deux, rep class, condition etc… that is 3 hours a day averaging out to 15 hours of training a week, and then you add rehearsals and that is 20 hours. What five year old needs that much time in class? Seriously. Then another mom, was complaining that her daughter was placed into the Advanced Intensive course, which makes her daughter dance 18 hours including rehearsals. Her daughter is 14, and the week prior, her mom told me she wanted her daughter to audition for SAB’s summer course…. WTF… Your daughter is already behind in vocabulary technique and still doesn’t have the strength to control her turn out or feet…. Come on…. Then I have moms who are clueless to ballet, but coming in basically demanding that their daughters belong in advanced, when their fifth is not closed, their feet don’t point, and they aren’t flexible. BUT because they were the best at their school previously… They should be in advanced. -_____- Then I have the mom’s complaining about casting… Which ironically, I was beyond fair, and I created 3 cast lists so their kids would learn 3 different roles… and have the chance to dance in 3 different roles. Now they are complaining they have to buy tickets to three shows blah blah blah…. I just don’t get it. If your kid is 11 years old, and all they were cast in Chinese Attendants… wouldn’t you be mad? It’s not like we have a party scene or battle scene to fill…. (in my previous post, I mentioned i cut it out from Nutcracker). Also, it isn’t like you are paying 3 costume fees, or 3 of anything. I don’t know. Maybe I was being too fair? So the typical, decently trained 11 year old is learning Chinese Attendants, Arabian Attendants, and understudying Marzipan… The typical 14 year old is cast 1st cast Arabian Attendant, 2nd cast Marzipan attendants, and understudying either flowers or snow. The typical 16 year old in our trainee program is in 1st cast Snow and Flowers, 2nd cast paquita corps, snow and flowers, and understudying one of the lead variations. I feel like this is pretty fair casting… Even at the schools I was at, I feel like this is typical casting? I could be very wrong, but I felt like this is pretty fair…

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So, why shouldn’t you put your kid (any age under 7) into ballet? Because ballet dancers are nuts. No just kidding, not really. The more and more I watch kids enter into ballet, the more and more I see them set up to fail. I see parents that can’t afford the training needed, or pointe shoes needed. I see kids develop unhealthy friendships that are based on talent. If a kid has been dancing since age 3, by the age of 10 their parents are demanding their kids to go en pointe, and some random dolly dinkle school puts them up, with bad technique and so their feet become damaged, or they get biscuity and don’t point properly. It is just a mess. I feel like kids under the age 7 should only stretch, listen to music, take tap class, and do jazz/hiphop. Go compete and gain that stage awareness and self confidence. Go to jazz class so you can learn to be fearless, and have ridiculous tenacity and attack. Start ballet at age 7 or 8, when they can actually sit and focus on turn out, and begin to comprehend how you have to use your facility ballet. I don’t know. Just my opinion.

August 22, 2015August 22, 2015

RDT: The journey begins…

The journey to opening a ballet company has definitely been interesting. Sometimes, I think that I bit off more than I can chew. My nights used to be filled with extravagant dinners, and glamorous red carpet social events. Now, my nights are filled with insane rehearsal planning, figuring out staging details, fundraising events, schedules, choreography, venue negotiating and more. It is kind of insane how my life has flipped drastically. There are so many issues with being an AD (artistic director)… For example… When I first started hiring, I wanted super tall women, because I love their lines, their ability to take up space and more. The majority of the company women push 5’9” and taller… The problem… finding men who are 6’1” and not incredibly awkward…
Then, in my hiring, I hired women with the most beautifully arched feet… I wasn’t think that they kill dozens of pairs of pointe shoes… Aesthetically, I made the right choice. Financially now, I am like woah… this sucks…

I generally hate Nutcracker, so I devised a plan to ex out party and battle scene, and have created a new smaller version of Nutcracker that doesn’t involve crazy rat kings, or awkward fight scenes and is slightly twisted… Downside? There is no intermission as it only fills one act. Which means the corps has to rush from snow to marzipan to flowers. That sucks for them… but what sucks even more is first act of our first show is Paquita… Haha. Really sucks to be them, but I am like -___-

So now, I am faced with a billion choices, and blah blah blah. The plus side is that I have a date to have our official party to open the season, and small fundraiser. September 19. If you are in SoCal and want to check it out, visit our facebook page, the details are listed there. Also, Saturday, August 29 is our trainee program audition. If you are in SoCal and looking for a place to train that is focused on pure technique, with a hint of Balanchine ideology- like timing, phrasing, traveling, and turnout- come check it out. The audition is free. Oh, and I still have a contract for a tall male principal dancer, and soloist.

Seriously… I love it. But it is quite stressful.

August 6, 2015

Redlands Dance Theatre

Redlands Dance Theatre is a non profit organization dedicated to the arts in the Inland Empire. Your contribution, no matter the size, provides Redlands Dance Theatre the means to further the arts in our community. Redlands Dance Theatre provides 8 full year round scholarships to Dancing Images Dance Center for under privileged children. The company provides exceptional performances for our community, and gives Inland Empire dancers a chance to grow and further their art form.

Unfortunately, employing ballet dancers does not come as an easy task. Redlands Dance Theatre goes through about 8 pairs of pointe shoes a week, running about $650. To finance our 2015-2016 season, Redlands Dance Theatre is looking to raise approximately $25,000 to support our dancers, students, performances, costuming, and other miscellaneous expenses.

www.RedlandsDanceTheatre.org

June 2, 2015

ABT is campaigning hard… too hard…

It isn’t a surprise that ABT has been campaigning hard for their 75th anniversary… but for Pointe magazine to have back to back ABT covers…. kind of fishy… I love Skyler Brandt… I LOOOOVE HEE SEO and Isabella Boylston… but to put Sarah Lane on the cover? #joke I swear to baby jesus that if Sarah Lane is promoted before Misty Copeland… actually if she is promoted at all… There will be some words. Now, I am not the only person in the ballet world who doesn’t believe in being politically correct…
Tsiskaridze has opened his mouth too… click here to read the article … I also actually agree with him… I don’t believe that “Balanchine” dancers are ballet dancers. They are neo classical ballet dancers with amazing technique. If we want to talk about REALLY CLASSICAL BALLET.. Russians and the French win. Duh. Royal Ballet dancers aren’t my cup of tea either, but I will say they are ferocious in their own way… But hands down the Russians and French… No argument. #justsayin

This week we said goodbye to Paloma Herrera and Xiomara Reyes at ABT… which means there will be a lot of new hires and promotions at ABT… #justsayin #goodstuff #teamasian

I wouldn’t be surprised if Misty is promoted after her Swan Lake performance at the Met. #campaigninghard Especially since they are hiring guest artists for the season… #fail. These disappointing things were the reason I started this blog… I read my first blog post today, and it has almost been a year since I created this blog, time flies. Nothing has changed, how frustrating.

May 9, 2015

Every Fifth Has A Story

Tonight, I was cleaning out a bunch of stuff at work, and then stumbled across a memory card that was never uploaded. If you don’t know about shooting medium format, here is a little info. Medium formats create huge files, and so it is always best to shoot tethered. Because I work in fashion, we only shoot tethered to see the film instantly, find flaws, and correct things… Unless, we are shooting on a highly produced editorial, and outdoors. But, whenever you shoot medium format, you always want to have a huge SD card in the body of the camera, just in case. Once the camera clicks the image is usually captured right away to the computer, and on rare instances nothing shows up… Usually the camera will catch it on the SD card. So, I put this SD card into my reader and the photo above was on it. I instantly smiled. This photo was taken by Alexandra Rose of Vogue Images (click the link to visit her work). The photo is of a former student of mine, Jacquelyn Bernard.

When I met this student, she was at a small ballet studio in SoCal. Here, at this studio, the owner told me this girl had no talent, no feet, no turn out, no flexibility and not worth my time. After watching her dance the first time, I thought to myself… no there is something there… just this studio teaches horrible technique, and why on earth would you put a girl like that in Gaynors…. So, after long talks with her and her mom, I decided I would turn her into a dancer. Firs thing was to stretch her out. No, the first thing was to take her out of the gaynors and put her into Freed Classics, then stretch her out. At the time I met her she didn’t even have her splits… So, after working with her on Monday nights… Her feet finally gave into me… And from biscuits these came. Then turn out came. Her legs became hyper extended and next thing you know it she is at a summer program. Now, she is a college student studying dance and about to have her first essay published about dance. So proud of her.

This really goes to show how important it is to find good teachers. Because a good teacher can take you the distance. For a girl who had nothing, she turned it around and now has everything.

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Help a current student of mine go to Los Angeles Ballet’s Summer Program by donating here.

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Don’t forget our launch of MANLY BALLET. Click the image above to visit http://www.manlyballet.com
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FIND OTHER DANCE ARTICLES, non ballet related by clicking the image above.

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May 6, 2015

SUMMER PROGRAMS

Hello there world….

I have a student, her name is Jessy. She just received recognition from Los Angeles Ballet and was invited to their summer course. Unfortunately her family doesn’t have the money to send her. She has never been to a summer program, or trained at a studio. But, despite these odds… she has made it this far. (Not to toot my own horn but I am a pretty good ballet teacher) She maintains a 4.0 GPA, and really does love ballet.

She has a ton of potential, hyper extended legs, BEAUTIFUL feet, a hyper mobile back, really great musicality. She needs full-time training if she wants any chance in the dance world, and time is running out. So anything will help, I have till Monday… So, here we go. http://www.gofundme.com/tye5w6c

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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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…

January 30, 2015

THE FUTURE OF BALLET: The Cirio Collective

The Cirio Collective if the first of five start ups I am going to endorse/plug/support throughout the year. To donate click here.

While it is important to be educated in ballet, it is more important to understand that ballet/dance is a living and breathing art form constantly evolving. It is hard to be progressive in today’s industry because genres are becoming more and more blended. That is the thing about ballet, the evolution and expansion is happening at a rate no one ever could have predicted. When ballet dancers would wait for new choreography, it was one thing. Now, ballet dancers are have become impatient with artistic staff (it is super costly to have a choreographer come in and set a new work, and super risky for a payoff) they are exploring their own forms of movement.

While dancers all across the world have been starting small groups/labs/experiments, none have matched the quality and finesse needed to turn into something major. The last of which were Complexions and Cedar Lake. The Trey McIntyre Project lasted, but since evolved. Now, why am I so hopeful for a company/project/collective that hasn’t even debuted?

Jeffrey Cirio is a ballet prodigy. Awesome.

He has good taste in photography and editing. InstaAwesome.

His sister is the epitome and ideal new ballerina. Flippin Awesome.

He has access to good dancers during the off season. Bostonian Awesome + Ballet celeb awesome.

He is smart. Generally awesome. He has really, carefully thought this through… from the aesthetic of his site, to his PR campaigns, to the overall mood of it all.

So, why am I writing all of this out? Here it is…. Ballet has to have good PR. PR encompasses this field of development, fundraising, and the efforts to keep ballet alive. While the Cirio collective will bring in a younger crowd than the typical ballet audience, this crowd is the crowd we have to please. This will be the crowd that supports ballet for the next 40 years, and this new crowd of ballet/dance go-ers is not patient. Between IG, SYTYCD, and blogs like mine, everyone can be a critic, a judge, or even an editor… With that all being said, I also think it can be used for good…

Here is what I am asking… Support the Cirio Collective. Go online, like their page, share their page, share this page, exposure is always a good thing… buuuut you have to donate. I can not stress that enough… YOU MUST DONATE. For all of you moms and dads out there saving for summer programs… How will your kid dance if there is no place for them?

Bonus, they already have their 501c3 which means tax deductible and exempt… I know that this doesn’t help you this tax season… but hey… it will help you next season!

Facebook: Circio Collective

IG/Twitter @ciriocollective

http://ciriocollective.com

So, here we go… Go make this into a reality… Thanks.

December 27, 2014December 26, 2014

10 Things Ballet Students Should Have…

Things that everyone should have in their dance bag, or readily available.

A foot roller or stretcher.
A theraband, deflated tire tube, or something else elasticy.
Ibprofen, icy hot, or biofreeze. Whether it is for maintenance or prevention, it is smart to just have these. From overworking in class, to muscles and joints locking up, it is always smart to be prepared.
Needle and thread. There is nothing worse than your elastics snapping.
Something to keep you warm: a onsie is my preference. Leg warmers, full length leg warmers, ankle warmers, shrugs etc…
Rubia Dancewear by Boston Ballet Principal Dancer Ashley Ellis. (moderately priced for custom pieces) Click the pic above to custom order.
Extra dance clothes. Don’t want to be sweaty gross.
Extra pairs of shoes, for girls always have a good sewn pair with you, just in case the ones you currently are working in die.
PBT on Pinterest.
A good book.
Hair and beauty supplies, this includes a towel. I always brought face wash because I had acne problems.
A notebook for corrections. I still have all of mine and are fun to look at.

September 19, 2014October 5, 2014

A List of Farewells…

Many of the principals we have come to love and adore, or have forgotten about have announced their retirements this year. This morning, Carla Korbes announced her retirement from PNB. Her stunning career has been plagued with injuries, but her collaborations with Peter Boal have definitely paid off, and have have been celebrated.

Other principals to retire are NYCB’s beloved Wendy Whelan, and ABT’s Paloma Herrera both set to retire in October. Julie Kent is going to be retiring in the Spring Season. There are plenty of others who should retire, haha, but that is neither here nor there. The point is that these three women have made huge contributions to the world of ballet, and as they leave, they are making room for a stunning new set of leading ladies to take center stage.

September 17, 2014

The Best of the Best… Ballet Company Awards 2014 (2013-2014 Season)

If Ballet Companies had an awards ceremony to go to, it would be the Golden Globes. It wouldn’t be the Oscars, even if it is the most glamorous event. This is because the Oscars are voted on by the Academy of Motion Picture Arts and Science, we basically have that from the Princess Grace Awards and the Prixs for that. If dancers were to vote on other dancers and companies, then it would be the SAGs. The Golden Globes are voted on by the Hollywood Foreign Press, and I feel like that in itself says it all. The power of press and publicity goes a long way, not to mention that the opinions of editors dictate the content featured. But, that isn’t what makes the Golden Globes so special, it is the fact that the mission of the Hollywood Foreign Press is to make films accessible to the general public by unbiased information and reviews. So, as I compiled a list of companies worth noting this year, the list grew rather large, so I decided to make categories, just like any awards ceremony. Because ballet is constantly changing, I needed to create categories that would allow flexibility, change and innovation. So, here are the categories that I felt represented the art form as a whole, and as a reflection of a company:

So without further ado… The Envelopes Please…

Best Premiere of a new work

The New York City Ballet, in PAZ de LA JOLLA, by choreographer Justin Peck.

(Nominees: Daphnis and Chloe, Paris Opera, Choreographed by Millpied. Lest We Forget Program from English National Ballet)

Best Repertory for the season.

Headed by Benjamin Millpied and Bridgette Lefevre, Paris Opera Ballet once again had a ridiculous season including: La Dame Aux Camelias/Neumeier, Dances at a Gathering/Robins, Psyche/Ramatsky, Le Park/Prelojac, Notre-Dame De Paris/Petit, the Sleeping Beauty/Nureyev, Doux Mensonges/ Kylian, Daphnis and Chloe/Millpied,Orpheus and Eurydice/ Bausch just to name a few. During the season during Onegin, Amandine Albisson received her place as an etoiles for her role in Tatiana.

(Nominees: San Francisco Ballet, the New York City Ballet, National Ballet of Canada)

Best reprisal of a classic work.

This award goes to the Bolshoi Ballet in their rendition of Balanchine’s Jewels. With sets designed by Alyona Pikalova, Costumes by Elena Zaitseva and lighting by Maxim Fomchenkov, this production hands down belongs to them. Their rendition of Jewels is probably the best I have ever seen. This also won Olga Smirnova Prix Benois de la danse.

(Nominees: Houston Ballet’s Modern Masters, Queensland Ballet’s MacMillan’s Romeo and Juliet, Teatro La Scala for Serata Petit)

Technical Excellence from a company.

Amidst the craziness of the circus, Hamburg Ballet featuring Alina Cojocaru, the Hamburg Ballet’s strength shown through. Lilliom was performed in Orange County this February making their North American premiere, the world premiere was in 2011. John Neumeier’s choreography was not only innovating but showcased a ballet revolving around a man without having a million show off pirouettes. Not only was the work modern and innovative, but the entire companies’ classical background showed through and through, all seven scenes and a prologue.

(Nominees: National Ballet of Cuba, Vienna State Ballet, Dresdon Semproper Ballet)

Best Costuming for a performance

This award goes to The Australian Ballet’s new production of Cinderella. The costumes and sets were designed by Jérôme Kaplan. The new production was choreographed by Alexei Ratmansky to the original Prokofiev Score.

Best Collaboration

Dutch National Ballet stole fashion week during the SS2014 Paris shows with their collaboration with Viktor & Rolf in Haute Couture. In addition, Dutch National Ballet has comprised numerous collaborations through out the 2013-2014 season like their premiere of the Tempest that included amazing collaborators, and their new moves program, and Dutch Doubles. Four choreographers were paired with four world-famous Dutch artists: fashion designers, photographers and musicians.

(Damian Woetzel, Artistic Director of the Vail International Dance Festival, Julia Adam’s for the Boathouse Project, )

Most Innovative Company.

San Francisco Ballet’s season took it home. While contemporary companies create new works constantly, innovation has to be supported with stability and diversity. San Francisco Ballet definitely hit it out of the park with Giselle, Wheeldon’s Cinderella, Ratmansky’s Trilogy, Borderlands by McGregor, Wheeldon’s Ghosts, and the premiere of a Liam Scarlett ballet, and a premiere from and Possokhov. Not to mention they threw in Balanchine, Robins for giggles. San Francisco Ballet also has continued their relationship Hamburg Ballet by hosting them as a part of their season.

(Tu Dance, Hamburg Ballet, Complexions, Eifman Ballet, Scottish Ballet, Prelojac)

Most Inspiring Company.

English National Ballet, headed by Tamara Rojo might just be the most inspiring ballet company in the world right now. With their previous innovations, despite their financial downfalls, the English National Ballet had an amazing season. Most noted I think was their performance at Glastonbury, which was breathtaking. It was a piece from their Lest We Forget program. You can actually watch the video online. Then they stunned audiences again at their Emerging Artists Competition with contemporary solos to die for. Raging reviews for not only the winners, but all of the competitors this past season.

(Miami City Ballet under Lourdes Lopez, Royal Ballet of Flanders )

Company Contribution to the World of Arts.

In the province of Dresdon it seems a lot is happening in dance, but this award goes to the Forsythe Company. Founded in 2005, after Ballett Frankfurt closed, this company has create new works that hope to survive for the next generation of artists. In addition, William Forsythe will be joining the faculty at University of Southern California in the fall of 2015. He is not the artistic director of the Forsythe Company. But, this international group of dancers has created and performed tremendously. As in the middle, somewhat elevated has survived hopefully this next crop of choreographers will be nurtured accordingly to contribute to ballet’s repertory.

(Ballet Black, the New York City Ballet because of Justin Peck)

New or Returning Presence to the International Ballet Community,

The Korean National Ballet might just be joining the rest of the newer asian companies on the rise. Like National Ballet of China, Ballet Philippines and Hong Kong Ballet, Asian companies are on the rise. The Korean National Ballet is headed by former Stuttgart Principal Kang Sue Jin, and she is leading them artistic merits. With the way education is structured in Korea, it is surprising to find out that everyone in their company is a college graduate and didn’t join the company until their early 20’s, versus say other companies that hire 16-18 year olds. Their rosters are filled with tons of international dance winners, in fact 9-10 company members have medaled at an international dance competition.

Joburg Ballet (South Arica), Dance Theatre of Harlem, Pacific Northwest Ballet

Creating ten categories that reflect the nature of ballet companies, not individuals, was rather difficult. The size of the company, the theatre residency, and location would not effect the final outcomes. Here is information on how I graded companies: I only looked at the 2013-2014 performance season, individual dancers within the company, and artistic achievement based on reviews and press releases. Social media did not influence the choices. It seriously has taken a month to compile information, read reviews, and watch as much as I could. So, without categories my list would be: The New York City Ballet, Paris Opera, Bolshoi, Hamburg, the Australian Ballet, Dutch National Ballet, San Francisco Ballet, English National Ballet, the Forsythe Company, Korean National Ballet.

I was not going to single out dancers, because there are other numerous prestigious dance awards out there that grade artistic merit. As European Ballerina’s pray for Prima Assoluta, Paris Opera dancers pray for Etoiles, people hope for the Princess Grace Awards or the Benois… The list goes on. But notably last season: Ogla Smirnova, James Whiteside, Evgenia Obrazsova, Hee Seo, Tiler Peck, and Sara Mearns all had pretty amazing seasons on the international stages. As Olga Smirnova isn’t even a principal yet, and Hee Seo just got her promotion last season they are two women to definitely watch. Evgenia Obraztsova makes her way next to other Russian powerhouses: Svetlana Zakharova, and Natalia Osipiva, Polina Semionova, and Diana Vishneva. Balanchine ballerinas Tiler Peck and Sara Mearns are both competing I think to be the star at NYCB. Both are crazy different in approach, body type and musicality, but watching them dance is addicting. Both have literally grown up on stage. James Whiteside definitely gets to be next to Roberto Bolle and Daniil Simkin at ABT, but rightfully so, he is stud on stage… This year, I haven’t really seen any men that steal my heart… Well actually, the men of English National Ballet’s Emerging Artists were pretty amazing.

Also, as I just finished writing this I realized Royal Ballet didn’t really make anything… Truth me told I wasn’t impressed with their season, and because my anger at the Royal Ballet this blog was originally started… So…. Haha.

September 10, 2014

The Ballet that Inspired Innovation… Serenade

There is a ballet, a ballet that replaced the dramatic downfalls of the heroines of Petipa. A ballet that stole Swan Lake’s lighting, and the romantic tutus from Giselle, set to the most perfect score,and created by the genius of Balanchine, he named it: SERENADE. The house lights fade into blackness, and the grandiose score of strings play. If the music wasn’t inspiring enough, the curtain fades away and reveals the iconic classic Balanchine women. As each generation has added to their own take like any good ballet leaves room for speed, extension, turns, musicality, one thing has not changed. Innovation.

I recognize that Serenade has now been replaced by Jewels and Symphony in C. Those ballets showcase the entire company, including the men. Serenade showcases the women, dazzling women. Seventeen women that are not restricted by corsets, that aren’t dictated by story lines and dramatic downfalls. As Serenade is enriched with stories of success, and myths behind the movements and is standard of the romantic Balanchine Ballets, no one ever discusses the power of innovation behind it that has inspired millions of dancers. As the famous quote goes: Ballet is woman; Serenade truly exudes the power and identity of women working together to achieve something.

Serenade is basically the feminist of ballet. As men don’t play a major role, and there is no need for saving, Serenade embraces the power of women who can move to music. As Serenade has uplifted women since the NYCB revival, it is ironic that there aren’t that many Artistic Directors who are women… #justsaying

Anytime Serenade is on a playbill near me, I have to go see it. Every time I discover something new. Recently, I saw Los Angeles Ballet do it, and even though there wasn’t a live symphony, the power in the first note took me back through a million memories, and a dozen performances, and a handful of personal performances. Watching the women of Los Angeles Ballet was captivating, and truthfully… It made me fall back in love with ballet. Shortly after that performance, I started this blog.

Finally, I believe it is ballets job, well the job of any art form to reflect society, humanity, and rise above life itself… claiming an immortality that will last forever… Serenade has done that over the past 10 years. Serenade has truly has made a place next to Giselle, the Nutcracker, and the Sleeping Beauty.