I feel like… ballet rant…

you all need to stop

I was minding my own business tonight, and was going to go to bed early tonight. I went to a charity dinner with the food was crazy amazing. At most charity events the food is awful, but at this event the food was bangin. So, I get home and was getting ready for bed, and as my nightly routine has it… I go on youtube and social media, and see what is going on, or if I missed anything while living my life, LOL. I was in an Ailey mood tonight. Yes, I know it isn’t ballet, but it is just as good, just as inspiring and just as beautiful and sometimes more beautiful.  While ballet tells fairytales, or captures movement, it lacks the reality of art.  I believe that art is a reflection of our times, and ballet seems to lack that.  Ailey’s Repertory is a reflection of that  beautifully unspoken narrative. So, with that being said, there are some nights you just need to sit down and watch Revelations from start to finish (if you have not seen it in full, order the DVD). Not only does it inspire you, but it reminds of you that America then and America now really hasn’t changed, and how if you are a minority the struggle is a part of your life.

With everything going on in America, I realized that Misty’s promotion has kind of masked what is really going on in ethnic America, and was slightly disturbed.  I then decided to watch the Kennedy Center honoring Judith Jamison… And then this lead me tonight’s rant…

If you are a teacher, or choreographer and it is time to do a show… DO NOT, I REPEAT, DO NOT TRY TO DO THIS… It is so awful. If you are going to use the music as a tribute to gospel or just inspired by the music, then fine. But I do not recommend it… Just like I don’t recommend using the music from Serenade… Just don’t.  Because, not only are you being unoriginal by teaching your students the choreography from a video or something, but it is so disrespectful… I don’t care if you are paying tribute to the choreographer, the company or ethnicity (which is also borderline offensive… And yes, I saw your video descriptions… Like seriously some studio’s theme was Dance Around the World, and they used Wade in the Water as “Africa”… SMH, I had to report that video, it was just too much)… Just don’t touch the choreography… Just don’t. It is so awful. Don’t use the fans, don’t try to glam it up, don’t try to make it sparkly, definitely don’t try to make it a ballet (I saw that too), don’t imitate the costume… just seriously… don’t. Like don’t do the choreography, choreography that resembles it, formations and blocking that resembles it, don’t use the props, definitely don’t use it for competition, don’t even use the Ailey recording- find a different version if you are inspired by gospel music….. but seriously, just please stop

I think it is so disrespectful on so many different levels: the choreographer, the dancers, the company, the legacy… Just stop. Figure something else out. It is so frustrating… For some reason, this is more upsetting then studios doing awful versions of Serenade …( Then again I get offended watching Paris Opera do Serenade… mostly because the music seems to be slower and there is just not the Balanchine attack that is so beautiful)  I think it is because the lack of technique at these studios? At least when studios attempt Serenade they are ballet studios… and not competition schools trying to do epic ballets. After seeing all of these “tributes” via random studio, school, church etc… There is no technique, where Ailey dancers have a very specific look to them… Like City Ballet dancers.  Ailey Dancers are trained in Graham, Horton and ballet- they also have this sense of abandonment, which is why I love watching them. But watching some random school in podunk America trying to do Revelations based off a video… that is a little bit much.
Ugh, other than that, I need to go to bed…But here is a photo of crazy good food.
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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.

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.

Intro to Summer Programs

The Guide to Summer Programs:

While Christmas is finally here, and Nutcracker is finally over… We now look at the bigger picture, and the next part of the season: SUMMER PROGRAMS!! With auditions literally starting next week, the stress is on. SO, here are some of the truths about summer programs:

  1. Summer programs are not a vacation.  While it might be fun to travel all over the US, the reality is that summer programs are designed for three purposes.
    1. The first is to get the maximum amount of training in while you aren’t in school. So, if you are looking at summer programs as a chance to catch up on technique, then audition away. Dancers drastically change at summer programs for the good and the bad.
    2. The second reason ballet companies host summer programs is to look at the work ethic of potential year round students. For those who are killing themselves dreaming of San Francisco Ballet, your best bet is to go there for the summer. Hopefully, you are around 14-16 with awesome technique. This way you can get asked to stay for the year, and hopefully make it into their trainee program.
    3. Finally, the third reasons companies host summer programs is because it is a huge money maker. If you don’t know the costs of a summer program, check out this post. Summer programs are a way to overflow a school, and make money. It isn’t a hidden fact that ballet companies aren’t doing well, so Summer Programs are a way to generate income to the school/company during the off season (January) and then again in the Summer months.
  1. Names don’t mean anything. While many prestigious schools boast awesome summer programs, it doesn’t mean it is the best training for you. You have to find the school that is right for you, and where you are at in your training. For example, you should not audition for SAB until you are completely sure you are as strong as you can be, technically. SAB is a finishing school, not a training school. If you are behind on your technique, CPYB is the best place to go and get your butt whooped for a month. If you are looking to broaden your horizons in ballet, LINES would be a great add to your resume. And for those of you who are looking for individual attention, go to a smaller program like Ballet West or Atlanta Ballet’s Summer Programs. If you are looking to work on turns, go to the Rock School for Education, and if you are looking to jump go to PNB.
  2. Have back up plans. Like any child applying for colleges, you have to have a plan. Everyone has their dream programs, but then pick others that you know you are going to get into, schools you might get a scholarship to, and schools that are affordable. Have options, because a lot of kids will hit two summer programs in a summer.
  3. How do you know you are ready for a summer program? You have to be mentally prepared because at a summer program the competition in the classroom is stiff. Everyone there is pushing for a year round spot and scholarship for the year. You will be hundreds or thousands of miles away from home, living in dorms, with a hundred other ballet dancers. While you make lifelong friendships, the reality is, they are also your competition. It is easy to become friends, but it is easier to become jealous and get inside your own head, sabotaging your chances of staying for the year. If you are at a smaller school, and you are the best one at your studio, this would be a great growing opportunity.
  4. Finally, use summer programs to see if this is what you really want to do with your life. Summer programs are a great stepping stone to see whether or not you want to pursue ballet professionally. While it is rare for a dancer not to go to a summer program, a summer program is usually required as a bridge between professional schooling and a home studio. Another small step towards dancing Odette in Swan Lake.

You can go to any company’s website or school website to see if they are doing a national tour. The dates are already published. Audition fees will apply. If you don’t have the money, you can call the school registrar and possibly have the fee waived.

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.

Your petit allegro is awful…

Petit Allegro is neglected at most smaller schools in the US. It seems to be tossed aside, or never really done right. Either the tempo is too slow, or they just don’t teach their students the importance of petit allegro. The above picture is why. There are so many “ballet dictionaries” out there that teachers use to reference… and that is what they give. I honestly don’t know how this even got into a book, or how it even looks like a glissade…. but someone published it and put their name to it. *smh*

5 things to help you improve your petit allegro.

1. Close fifth every time. There aren’t very many steps in petit allegro that don’t close 5th, and without closing into a tight clean fifth, you aren’t really doing ballet. #justsayin

2. Stop putting the weight in the back of your foot, in petit allegro you have to be the most forward. By putting your weight forward, that is how you counter balance with your heels… the idea of pressing down and getting the most stretch in your achilles.

3. Carefully plan where you are going to accent in the music. You are able to play with the music a lot in petit allegro if you decide to move faster. Most students don’t realize that petit allegro is fun, flirty, and sassy. It is the one time you can really add some personality without looking over the top dramatic, or jazzarina whack a leg…

4. Your teacher probably doesn’t give good petit allegros, and is hurting you in the long run. Petit allegro makes or break an audition a lot of the times. Everyone focuses on adagio and grand allegro, and pirouettes… Everyone seems to forget, you have to move fast as well… So find a new studio. Okay, or not. But, you might want to ask your teachers why there isn’t an emphasis on it… Challenge how they think, an teach. Most teachers get lazy when it comes to petit allegro. I love petit allegro, so I focus a lot on it.

5. Eat more oatmeal, it makes you smarter so you can think faster… lol. It is what I tell my kids all the time…

The Beast that is the Nutcracker…

In the repertory of classical ballets, there is one ballet that trumps them all. It isn’t number one because of the physical demands, and it is definitely not number one because of artistic merit. In fact, this ballet probably is the most unartistic for any artist. It is probably the most recognized of score of any ballet music, from variations, to even the prologue, everyone knows it. It is the beast: THE NUTCRACKER.

It is no secret that most ballet companies make money twice a year. The first is by offering summer programs from June-August. The second comes in December and seats are sold out for their annual productions of the Nutcracker. For the majority of companies, the Nutcracker runs seamless. Everyone already knows all the parts, they are just waiting for the casting. Lighting, and costuming is already done for the most part, and just rely on tweaking things here and there. For marketing and PR, it is the best time to host fundraisers since everyone is in that holiday spirit of donating money. And for the audiences, it is that timeless, almost boring tradition, that doesn’t go away.

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PNB’s infamous Peacock. I probably prefer this variation more than the Balanchine one.

 

For most young aspiring dancers, the Nutcracker was the first ballet parents ever took us to.  Whether it was on VHS, directly talking about the Baryshnikov and Kirkland version, or PNB’s collaboration with Maurice Sendak. Or, the NYCB version featuring Macauly Culkin and Darci Kistler. So, for the majority of our young lives we prayed that one day we would get to dance in the Nutcracker. And then it happens… You get cast in your school’s version of the Nutcracker. You start as a child in Mother Ginger and party scene. You pray that you get picked to be Clara/Marie, and maybe you do. Then, you start to get smaller supporting roles, and finally you are in the corps of flowers and snow. By 13, you are dancing Marzipan/Mirlitons, and by 15 you are maybe Dew Drop. Next thing you know you are at a professional ballet school, and you never get to dance in Nutcracker again. Until, one day you are lucky enough to land yourself a company contract.

Five years later, after dancing professionally, you hear the music at department stores and cringe. Now you dread Nutcracker. It is the most boring of the ballets, and you dance it time and time again. If you are still a corps member you already know that you will be a party parent and in the same show you will have to dance in both snow and flowers. You hear the same corrections in flowers, “Bend more!” or “Watch your spacing.” In snow you already know that you need to move a little quicker than the music, and you watch the new apprentices and corps members struggle to keep up. Yup, it is that holiday tradition of being in a ballet company that brings dancers together. 

So, what is it about this ballet that is so charismatic and is performed every season?

hong kong ballet waltz of the flowers

5 reasons why the Nutcracker will never go away…

  1. Curse you Tchaikovsky! The score of Nutcracker is close to flawless in terms of musical genius. All of the music is relatable, catchy, and keeps the audience entertained. 
  2. It is magical, and is every little girl’s dream. Because it is the first ballet we ever see, it becomes engrained in us. It sparks the hope of millions of little girls to become ballet dancers.
  3. It is short and sweet. The shortest of the classical ballets, where the story is compressed into the first act and the second act is purely about the dancing. It is probably the only ballet your dad can sit through. Most little girls can’t sit through all of Swan Lake, or even get through act I without having to use the bathroom, get bored, or fall asleep.
  4. The test of a dancer. Dancers I think are tested a lot in the Nutcracker. Because you have so many performances, there are a lot more casting opportunities. If in a run of a regular program there may be only two or three casts. During Nutcracker, there are at least five casts, if not more. This gives the Artistic Director a chance to play around with their dancers. For an artistic director who wants to see something more dark and mysterious from a dancer, he will cast her in Arabian/Coffee. If they want to test a dancer’s stamina they put her Dew Drop. And if they want to see maturity, and ability they cast in her Sugar Plum. 
  5. It makes money! If it wasn’t for the Nutcracker, dancers wouldn’t have jobs for an entire season. So, we suck it up so we can dance all year round. 

Company Profile: THe Joffrey Ballet

Company Profile: The Joffrey Ballet

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Joffrey Ballet (click here)

Location: Chicago, IL and to be exact, the Joffrey Tower
10 E. Randolph St.
Chicago, IL 60601

Artistic Director: Ashley C. Wheater

Style: Classical with a contemporary twist 

Affiliated School: The Joffrey Academy of Dance

Annual Tuition for a trainee: When e-mailed I didn’t get a response but I am guessing it is somewhere between $8-10,000 a year for the pre-professional division. The link is the PDF of requirements for the pre professional division for the 2014-2015 school year. (http://www.joffrey.org/sites/default/files/filefield/field_file/program/119/pre-professionaldivision2014-15schedule81914.pdf

Summer Program: They offer over six different programs across the US. (Money making programs, in my opinion.)

Theatre Residence: Auditorium Theatre, Chicago, IL

Current Season: 5 programs, and additional performances. Tour dates are unannounced.

Dancers Hired: 37

Founded in New York by masters Gerald Arpino and Robert Joffrey in 1965, the Joffrey Ballet was born. The company relocated to their now permanent home in Chicago in 1995. As Joffrey makes more appearances, and is referenced to in pop culture quite frequently, the ballet company has struggled tremendously. Despite the struggles of any ballet company the Joffrey ballet has made major contributions to the ballet world. The biggest is probably the 1995 reconstruction of Igor Stravinsky’s Rite of Spring. Another unique quality is that the company really doesn’t have assigned ranks which allows the Artistic Director to be free about casting. Yes, senior company members have built names for themselves, but the dancers at Joffrey are truly unique. 

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First Joffrey has the stunning Fabrice Calmels, if you don’t know him, he is a giant standing at 6’6”. Trained are Paris Opera, and a unique resume on top of his training, he definitely stood out when I saw him in Apollo. GORGEOUS. His height and body proportions are beyond gorgeous, and his movement quality lives up to his height. With a unique contemporary take on ballet, he is definitely a jewel of the Joffrey Ballet.

Joffrey also employs Australian Aaron Smyth who made his appearances on the competition circuit in 2012-2013. This landed him a spot at JKO, then ABT II, and then joined the Royal Ballet. Since he is a younger dancer, we have a lot to look forward too.

Kara Zimmerman, formerly with PNB and Cincinnati, Joffrey really does use her well, and has helped develop her to her full potential.

Finally, basically one of their Prima’s Victoria Jaiani, she graced the cover of Dance Magazine back in 2010. With an arabesque for days, and artistry that moves the audience time and time again. She has definitely matured with the company and has truly made herself a name in Chicago, and in the dance world.

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Dancers I think that would do well at Joffrey? Auditioning for companies, or summer programs with the hopes to go year round and work your way up? I believe that dancers who would do well at the Joffrey must already have a strong background in technique. It isn’t like a school like Boston Ballet or San Francisco that gives you technique. Joffrey is more about strengthening your technique and emphasizing a certain approach to your dancing. Dancers that I think do well there are tall, athletic, and most of all flexible. With the diverse repertory Joffrey offers, potential future hires have to have versatile bodies. This allows more forgiveness in body type, meaning there isn’t a preconceived notion to the perfect ballet body type. Their company has a variety of heights, and a variety of body types. Because there really isn’t clear rankings it also allows for a more fair shot in casting. I’m not saying it is completely fair, it never is. 

And just because he is so attractive, and he is beyond talented… and is 6’6″ of muscle… 

Fabrice-Calmels-by-Guiliano-Bekor

Baby Ballerinas, and the costs of being one.

This one is for all of the parents who has a child starting out in ballet. (I have gotten a lot of e-mails asking a lot of really good questions, and I have been trying to individually reply but it has gotten to be too much. I am going to try lumping it all into one post, kind of.) So, your child is in ballet, and you don’t want to go all dance moms on your kid, or be that stage mom at the studio. Here is some advice, so you don’t overwhelm school owners, teachers, and your child. This is all my opinion once again, so here we go.

For children under the age of 5, there really is no reason to have your child in ballet class everyday. There is also no reason to have your child in private lessons unless your child has scoliosis or flat feet. Then private attention is needed, and you might want to consult with doctors for orthotics to help correct, and prevent long term problems. In addition, you should let your child do jazz, tap and hip hop for fun. Jazz teaches a young dancer tenacity, aka Tiler Peck is a good example. Hip hop teaches a dancer to be daring and good at free styling. Tap teaches a kid how to understand music, and the process of building and deconstructing music. This is also good because they will stretch a lot more, and flexibility in the back, hips and legs matters in the long run. There isn’t really a reason to have your kid in competition at that young of an age, unless you are in it for the fun of it all. With that being said, competition is expensive and you have be prepared to pay for all of that. More importantly, if your child wants to be a ballet dancer, it might just be more expensive than college… Well it is, and this is why.

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Children between 6-9 should be in ballet class at least once a day. This isn’t because we are crazy, it is about discipline, and the start of muscle memory and the shaping of the muscles. Children are growing like crazy and need sleep, so it isn’t smart to have to them in hour and half classes. One hour a day three-five days a week is a great start. They have to build an entire ballet vocabulary, know the etiquette of a ballet class, and most importantly they have to thrive in the environment. Discipline is built, and this is when you see kids really starting to excel. (Wait for it, the money hasn’t really started yet. So before you go out and buy your child a million cute leotards, and a pay for expensive dance bags… Wait.)

First Position's Aran Bell, now with ABT Studio Company at CPYB.
First Position’s Aran Bell, now with ABT Studio Company at CPYB with Ashley Miller.

Then, from the ages of 10-13 the real journey begins. Pointe shoes are introduced. And your child should be dancing at least four days a week in an hour and half class a day. On top of that, they should be training either in pre pointe or pointe at least twice a week. They should be cross training in yoga, pilates, and constantly stretching. If you don’t know a lot about pointe here it goes. Pointe shoes (Freed Classics) run about $70.00 a pair. Your child will probably go through a pair every month, maybe not at first, but it will start. This is when teachers will start to find and nit pick at your child and this is when private lessons are a good thing. Because starting now your child should be going away for summers. Yup, you should be sending your kid off to a summer program every summer, this means they will be gone between 4-7 weeks. What does this mean? Money. First auditions run between $25-35 dollars class.

Rachel Neville Photography, click the image to read her guide to audition photos. She is one of the best audition photographers based in NYC and beautifully elaborates on photos.
Rachel Neville Photography, click the image to read her guide to audition photos. She is one of the best audition photographers based in NYC and beautifully elaborates on photos.

Most kids audition between 4-8 places a season. Just like college, you have your first picks, back ups, and safety nets, of course hoping for scholarships. Audition photos will run you anywhere between 3-6 hundred dollars depending on where you are at, and who is taking the photo. Don’t be cheap, because a photo can make or break an acceptance, and can help get a scholarship. Teachers who are holding the auditions will see thousands of kids a season, and it isn’t till they are back at their office looking at audition pictures, waiting for that picture to remind them and think, “Oh that is the girl with the pretty feet from Atlanta.” Yup, so now your child has gotten into a summer program and it will cost you anywhere between 5-10k depending on the program, traveling expenses etc. 

So, lets do some math… Lowballing it, it will take you about $8,000 a summer to send your kid away. (That is including leotards, pointe shoes, tights, traveling expenses etc.) If your kid goes to a summer program at 12 or 13 and you are expected to go away every summer till 18, you are no looking at about $56,000 in just summer expenses. This isn’t including year round tuition, leotards, and pointe shoes for during the year. We aren’t done…

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Students and San Francisco Ballet School, photo by Erik Tomasson. Click the image above to visit SFB’s site.

From the ages of 15-18, your child should be at a pre-professional school attached or school associated with company. So, your home studio’s tuition was low, now multiply that by 4, and add room and board. Oh no, we are so not done. Now that your child is a pre-professional school, she will probably be going through pointe shoes a pair a week. Then, you now have to start saving for company auditions. Company auditions vary in price, most are free. But, the problem is getting to these companies. You can do the normal cattle calls in NYC, which you need pictures for, but the big expense will be traveling expenses (flights, hotel rooms, etc). Most companies only hold auditions in two or three cities outside of their own, unlike summer programs. This means your child will get to see the US and the World just by auditioning. 

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Daniela Aldrich, CPYB and SAB Alumna in George Balanchine’s the Nutcracker. Click the image above to go hear Daniela’s Story with Balancing Pointe or download the podcast.

This is also in the best case scenario that your child doesn’t need extra privates, your child gets injured and has to see a specialist, or they are having chronic pains and have to see a PT. 

Now, your kid is 18, but we still are done…

Most 18-20 year olds don’t even land full company contracts. Maybe paid apprenticeships, or small stipend second company jobs. For the next two years their income money will fluctuate and might still need help with bills. Since they aren’t in a school, dorms are usually not an option so you are looking at rent, utilities etc. And, well, we still aren’t done. This scenario, which was the normal scenario for a long time is changing, because more and more kids are making appearances at the YAGP and other international competitions. (See my guide to ballet competitions here.)

National Ballet of Canada's YOU Dance Apprentices . Miyoko Koyasu. Trygve Cumpston. Photos by Sian Richards.
National Ballet of Canada’s YOU Dance Apprentices . Miyoko Koyasu. Trygve Cumpston. Photos by Sian Richards. (Click Image above to got NBS)

So, before you go out and buy your child the most expensive dance bag, and tons of crazy leotards, thing of the long run, just in case. The plus side is, if your child is talented, and doesn’t get a job, he or she will easily get a scholarship to go to a dance college. Downside, ballet is extremely expensive in the US since it is not state supported, but this gives every dancer a fair shot at becoming a dancer, if money permits it. The opposing argument is that in most countries you only become a dancer if you are selected based off of body type.

These are the financial costs of ballet, this isn’t just the emotional, physical or mental costs of ballet. The stakes are high there too. And none of this guarantees your son or daughter a job in ballet. Unfortunately, no one is ever guaranteed anything in life, but there are ways to give your child a fighting chance in ballet.

Create a safe and healthy environment at home. This means finding the balance between ballet and “real life.” Dance isn’t everything and for most it will be a short lived career, so making friends, going to prom and seeing a movie is important. Additionally, the balance between rest, dance, and school is just as important.

Give your child the best education possible. This means finding the best schools in your area, even if that means you have to commute a little longer. Start saving in advance, just in case, and if your child doesn’t go to a summer program, you now have vacation money. 

Be educated, don’t be overbearing. It is more important for you to understand ballet than watch your child’s every move in class. Ballet technique is based on a slow process, that happens everyday, little by little. It isn’t like one private later they will have 32 double fouettés. Education will also help you have conversations with your child about ballet. For example companies, body types, natural facility, and possible careers. Just because VOGUE pushes SAB doesn’t mean everyone is meant to go to SAB. 

Students at Walnut Hill, click the image above to visit their school's site.
Students at Walnut Hill, click the image above to visit their school’s site.

Exposure. Making sure your child sees good ballet is important. Yes, youtube is great, but going to a ballet performance is even better. Videos highlight principals not the entire cast. Kids should see an entire company, so they understand all of the different parts of a company. Not everyone is going to be a prima… (article here)

Loving it. What makes or breaks a dancer in the adolescent years, if that phase isn’t awkward enough, imagine living through it in tights and leotard… Bodies change, mentalities change, and they will either fall deeply in love with ballet, or they will do it for the sake of doing it. It is most important to remind your child that if they don’t love it, they shouldn’t do it. Also, if they just love ballet but don’t want to become ballet dancers, then maybe it isn’t necessary to push your child to go to PNB or Royal Ballet School.

Finally, my last advice to all parents: GIVE YOUR KIDS A FIGHTING A CHANCE! So many dancers don’t end up becoming professionals because the lack of training, and the lack of support at home. Ballet takes 130% commitment, and if your child is willing to do all that, plus their chores, homework and family duties, then let your child have a chance in ballet. Find the best schools, the best teachers, and find a way to make it happen for your child. Drive the extra 30 minutes to the better school, talk to your child’s regular school to see if they can get out of PE since they are dancing 20+ hours a day, and if they can’t, get a doctor to sign a note saying they aren’t allowed to run… Fight for your child. They only get one body, so you have to do everything you can to protect it. Also yes, costs are high, but if your child is talented, there is always someway to work something out with a school to find a way for your child to dance.