When I was younger, kids in my ballet class were awarded stickers for coming to class in the proper uniform with their hair in a neat ballet bun. My mom arranged my thick natural hair into individual braids that were nicely pulled back for class, however, I was the only girl who did not get a sticker for being in the proper uniform. I was always told my hair was not right for the class. Eventually, I told my mother about the issue. We met with the director who apologized, and I finally got my stickers. This experience was traumatizing for me. It could have deterred my interest in this art form. Ballet schools must be more accepting of the cultural and racial differences of their students. The ballet community should accommodate hairstyles for Black dancers who have beautiful, naturally coarse hair. Training to be a professional ballerina is challenging and takes a lot of discipline, regardless of who you are. Read more in our September Issue.
The September Issue is here!
Our September Issue here and it is our largest issue ever! Our 20th issue is over 200 pages and the first issue in the history of the Magazine where I did not produce it and I couldn’t be more proud. This issue brings the news that I will be stepping down as Editor-in-Chief and handing over the magazine to Elizabeth Weldon and Ashley Lorraine Baker. The reasoning behind this? I want to make sure that women lead this publication, and that women are being represented in the ballet world as writers, photographers, editors, and are being the voices shaping the conversations in dance. This issue is beyond stunning and I couldn’t have been more proud to see my colleagues (who I am lucky enough to call friends) take control of this issue and produce a beyond stunning issue. We hope you enjoy it! You can read the magazine by subscribing here: www.aballetmagazine.com
IN THIS ISSUE:
WOMEN: THE FUTURE: When the staff of A Ballet Magazine began brainstorming for our September issue, the immediate thought that came to my mind was to feature these four beautiful women at Ballet West.: Gabrielle Salvatto Katlyn Addison, Jazz Khai Bynum, and Ginabel Peterson. Read an in-depth article and interview by Editor-in-Chief Elizabeth Weldon photographed by Joshua Whitehead.
GROWING UP BLACK
By Lauryn Brown | Photographed by Ashley Baker
When I was younger, kids in my ballet class were awarded stickers for coming to class in the proper uniform with their hair in a neat ballet bun. My mom arranged my thick natural hair into individual braids that were nicely pulled back for class, however, I was the only girl who did not get a sticker for being in the proper uniform. I was always told my hair was not right for class. Read more of Lauryn’s personal essay.
DO THEY SEE US?
By Ashley Baker
Creating quality ballet choreography can come from anyone and anywhere. Ballet seems to be lacking in finding, or better yet, uncovering black women who choreograph ballet. Where are all the black female choreographers? Amy Hall Garner and Claudia Schreier unpack being choreographers, being black, and being women.
THE VIOLENCE OF WHITE SILENCE
By Elizabeth Weldon
In the aftermath of the murder of George Floyd, and the surge of Black Lives Matter protests worldwide, ballet dancers of color have taken to their social media accounts as a platform to express disappointment in their employers. One of the first of these dancers was George Sanders.
THE POINTE OF PIGMENT
Written and Photographed Ashley Baker
Some of the world’s top pointe shoe companies share in their mission to better represent the community that uses their products. This article features Freed of London, Suffolk, and Gaynor Minden. We had the chance to sit down and talk with the owners of these companies and talk about their contributions in providing pointe shoes of color.
By David King
My first introduction to Andrea Long wasn’t in person. And no, it wasn’t because of the Covid-19 pandemic. My first introduction to Andrea Long was in 1993, sitting inside the local cineplex at six years old. Now, I have the privilege of calling this master teacher my friend. Here is a feature on this stunning and talented teacher.
NEW FEATURE: Each issue A Ballet Education and A Ballet Magazine will be selecting up and coming ballet dancers to be featured in the issue! We are kicking off this feature with six talented young women who are breaking onto the ballet scene with a punch. Featuring Maddison Brown, Adeline Dunlap, Bella Jones, Alexandra Owens, Destiny Wimpye, and Sasha Manuel.
FALL FASHION: COLOR BLOCKING
Written and Photographed Ashley Baker featuring Mia Patton and styled by Berly Baray
STYLE: HERE’S TO HAIR
Written by Ashley Baker featuring Alexandra Terry
RESILIENCE & REPRESENTATION a profile on KIYON ROSS
Written by Eric Hipolito Jr.
AZ DANCE MED TAKES YOU THROUGH HELPFUL EXERCISES TO PROMOTE A MOBILE AND SUPPORTED SPINE
RESOURCES: WHEN WILL IT BE WOMEN’S TURN?
Written by Jillian Verzwyvelt artwork by Ashley Baker
PROFILE: DANCE THEATRE OF HARLEM
STEPHANIE RAE WILLIAMS
Written by Isabella Costantino
PROFILE: PAVIELLE VERSALLES: THE WOMAN BEHIND CONCEPT PAVIELLE
AND MUCH MORE!
A BALLET EDUCATIONISSUE 16
Issue 16 features A Ballet Education’s The Ballet Clinic. It celebrates the young dancers who inspired us to open this training facility. On the cover: Cassie Van Wolde, Harrison Pickering, Lauryn Brown, Bel Pickering, Annabelle Gourley, Nikolas Alexander, Jordan Gourley, and Leonidas Adarmes.
Read It On Joo Mag
IN THIS ISSUE
Founder & Editor-in-Chief
Turning In to Find Your Turnout
I think there is a big misunderstanding among ballet teachers and other teachers when it comes to turn in and turnout. The two cannot be separated because anything that is not turned out completely is turned in. I also believe that when it comes to working on the floor or barre work, sometimes it is better to work turned in. In fact, as we know from previous videos, I think it is important to work turned in to find a dancer’s turnout.
So, while I believe dancer’s should cross train in modern, jazz and hip hop, because of the different muscles groups each one focuses on, I definitely don’t believe in overtraining muscle groups that are going to hinder ballet technique. This means that anything that is going to lock up your quads and hip flexors, I am against. One of the best ways I think that any dancer can become stronger and be more in tune with their body is to discover how the hip socket works. (Click here for some other hip stuff from earlier posts.)
Taking a look at dancing turned in, into find your turnout.
Standing in sixth position properly aligned means that foot is perfectly turned in with proper knee and hip alignment. (proper alignment being shoulders over hips, over knees, over toes.) When standing in sixth position facing the barre one leg will automatically be in perfect turn out, if you rotate your hips towards left hand at the barre… When doing this you want to make sure you are really focusing on the SUPPORTING LEG. Remember the point of barre is to get you on your supporting leg and build strength in that leg, okay and to make your feet stronger… but the main focus is to get you on your leg and to do so, one must really build the back of the legs, rotators, and core.
Okay, so now you just have to discover the rotation in your hips. So here is Lauryn Brown (Insta: @laurynlanee) demonstrating some of the turned in to turnout combinations we work on at the Ballet Clinic. By all means it is not perfect, but she is working very hard on building the strength on her supporting leg.
Remember most of these combinations are designed to work the supporting leg’s turnout.
If you do these exercises properly, you will reshape your legs and increase your turnout drastically.
Things to keep in mind, holding the spiral of your supporting leg.
Finding your crease/ booty indent every time. Where the leotard cuts around the leg should be completely folded into the hip socket, the back/side of your quad & IT band should be completely flat.
Find squareness to the supporting leg, not the working leg. This is not a normal ballet combination, so if you can’t completely open to the side yet, DON’T. It is okay to be in a semi-ecarté position.
Don’t let the supporting knee give .
Don’t roll on the supporting foot.
Don’t put weight into the working leg.
When finding Arabesque- let the hips do the work, NOT YOUR BACK.
Check Out Lauryn’s Tutorial on Audition Make Up