Get all 4 of a Ballet Education’s Guides for $19.99
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The Guide to Variations
The Guide to Male Ballet
The Guide to Pointe Work
The Guide to Fierceness
Get all 4 of a Ballet Education’s Guides for $19.99
Once purchased you will be emailed a link to digitally download the books.
The Guide to Variations
The Guide to Male Ballet
The Guide to Pointe Work
The Guide to Fierceness
Each era, ballet redefines the role of a male ballet dancer. The last era, was the era of gods, Fernando Bujones, Jose Mannuel, Ethan Stiefel, David Hallberg, Steven McRae, Jonathan Stafford and Marcelo Gomes. .. With classical Greek body types, each of these men represented the best of the best, but once again ballet has evolved, and over the past five years we have seen a new breed of male ballet dancers. While the former generation has taken jobs as Artistic Directors, these young men have already started their own artistic vision. The next group of ballet dancers became slightly leaner and slightly longer like James Whiteside, Roberto Bolle, Alexandre Hammoudi… I was going to include some men from Paris Opera buuuuut they have always been kind of on the skinny and sleek side. Now we are seeing the new male body type… They are like Italian sports cars, versus Greek gods. They are shorter, more compact, lean, sleek and have powerful engines. Not only do they possess all these qualities but they are also creating their own space for movement, artistic expression etc- like Jeffery Cirio, former Principal Boston Ballet now a soloist at ABT and Daniil Simkin, Principal ABT. I think they are like the predecessors for the next male body type. While the ranks of ballet companies are filled with the sleeker longer bodies of men like Roberto Bolle and James Whiteside, I think these bodies will slowly be replaced by these now thinner, sleeker bodies. How this is going to affect women? I don’t know? Currently in fashion, we are going through the same aesthetic… where male models are as thin or thinner than female models….
His face was pressed against in the glass,
Fingers spread wide, tapping to the muffled sound of the music.
His mind was racing back and forth between reality, and fantasy.
Finally, the door opened and the teacher asked, “Do you want to come in?”
Looking for his mom’s approval, she nodded.
He rushed in.
And that was that.
I always wondered why my mom didn’t put me into dance earlier? From age 3-7 I would religiously watch the Baryshnikov/Kirkland Nutcracker every day, a copy that my grandma gave me. When PBS aired PNB’s Nutcracker, my Grandma recorded it, via VHS and gave it to me as well. I was addicted. I hadn’t even started dance classes yet. There are pictures of me religiously watching it. After preschool, lunch and reading, my mom would try to make me take a nap with her as I would normally get into trouble somewhere in the early afternoon. When these naps came about I would purposefully would toss and turn, and this would lead my mom to let me go to the living room and watch the Nutcracker. Somewhere between Snow and Prologue she would come out, and insist I turn it off and do something educational. I would beg, because the real dancing hadn’t started yet and the clowns hadn’t even danced. Little did I know, that one of those clowns would become a coach later on. Then in PNB’s Nutcracker, I would become obsessed with flowers and snow. Then my life happened, the Nutcracker was going to be in theaters, the NYCB version with Darci Kistler. And that is when I knew that is how I wanted to dance… The problem was, I hadn’t even started dancing yet… My sister and cousins were all in dance… But I wasn’t. Despite the fact that I had to go watch my sisters take class all the time… I hadn’t been enrolled.
Finally, when it came to be… I wasn’t allowed to do ballet. I did boys class which included jazz and tap.
Then, finally, I knew I wanted to do ballet and I finally got my wish. It was so late. So late. After an excellent elementary school, I went to a performing arts middle school with the condition that I keep a GPA over 3.5, stayed in the GATE program, and did other extra curricular activities. Needless to say, I wasn’t getting the training I needed. Then Center Stage came out, and I knew that I wanted that life. With the condition that I kept up all my responsibilities, I was able to quite the dance program at the middle school and go to a pre professional school. Then high school came about, and I knew I had to dance more. So, I doubled up on classes, by my freshman year of high school, I enrolled at a junior college so I could accumulate more credits. By the age of fifteen I had finished high school, differed from colleges to make my parents happy, but I did this so I could focus on ballet.
Then while at this pre professional school, a former principal from National Ballet of Canada told me I would never be a dancer. So, it shattered my world, and I was like, “Fuck. I gave up Uni for this…”
While at the junior college, I found out they offered ballet classes late at night. And I thought, this is perfect! I can double up on my ballet training. I juggled the two back and forth and by January, I had auditions. As rejection letters and acceptance letters came, I was really confused. I had done everything right… I did everything my parents asked me, and everything my teachers asked me but I didn’t get in anywhere that I really wanted. This being SAB.
Then, while under the advisement of the junior college professor, she told me to consider going to a university and majoring in dance. I knew this isn’t want I wanted, but what if the world didn’t have a ballet plan for me? I was taking class at a college here in soCal and as I finished adagio at center I was walking to the side when a man tapped his finger on the glass and told me to come over. I kind of shook my head, but then the music in class stopped and the professor told me I should go out there and talk to him. I didn’t know who he was. He basically asked me a couple questions and asked if I wanted to come to his school for the summer. I had no clue who he was… It was Alonzo King of LINES Ballet. This was before LINES was everywhere. Deadlines were coming up and my parents told me I had to make decisions… So, while eating my favorite chinese food reading about all these programs, I opened my fortune cookie and it said: You will dance to a different beat.
Being the crazy that I am, I was like THIS IS A SIGN. So, I went to LINES. And as beautiful as it was, and as glorious as it was… I knew that this isn’t how I wanted to dance. I didn’t care about what muscles moved what, I didn’t care about finesse and I didn’t care about how a plié made me feel. I knew I wanted to have long lines, and deep fourths. I wanted over crossed everything and I wanted to move fast… Every modern teacher said I was too Balanchine. Every ballet teacher said I didn’t have the body for ballet. It was really discouraging. Despite all of my kicking and dragging on at LINES I had met beautiful dancers who I still catch up with to this day. I came home discouraged, but my Grandma showed me this article about SoCal girls doing it up big. It was referring to Ashley Ellis and Misty Copeland, just coming off their spotlight awards, coca cola scholars and acceptances to ABT Studio company… So, I moved in with my grandma to train at their studio… The caliber of training was amazeballs… It was intense training… But, it was SOOOOOOO classical. Anything remotely unclassical was frowned upon, and the Balanchine was driven out. Then I went to CPYB, thinking okay, if all of the principals of NYCB have gone here… I must go, and they had a University in the same city, so I could keep going on with my education. The training was beyond exceptional, but this time… life handed me a different set of cards… I never thought I would experience racism in a ballet classroom, I never thought I would be the only asian male for miles, I never thought a lot of things would ever happen to me… and they did. I grew up in Southern California, my parents are white, and my brothers and sisters are all from different countries. Growing up my best friend was half french half black, and my other best friend was half German half mexican. Racism was the furthest thing from my mind… So, when comments by teachers were made about me being oriental, or that I had to open my eyes bigger… I was like wtf. This was the first time race became utterly important, but it also crushed me. So, despite CPYB’s advice, I decided to go audition for companies and got in. I begged the school the company was associated with to let me come early and just be in the school so I could get out of CPYB. Dance ended but brought teaching… Teaching brought back hope for ballet for me. Watching students leave this summer to join companies, go to SAB, and other summer programs, go off to university to dance on scholarship… Makes me feel like I can really do this… which basically caused this retrospective…
Ten years later, here I am sitting down filling out company contracts, school curriculum and emailing theaters. Crazy. Right? Starting a ballet company where poverty is seen in 30 miles every direction, the average high school drop out rate is over 30%, and the only major theatre is for comedians. Insane right? No, because now I know how important it is to let someone dance. And as I start this crazy journey of starting a company I am loving it. Mostly because the dancers I have hired are beautiful people with beautiful stories and that makes them beautiful to watch.
Kelly is tall. Like really tall. And after having a pre pro scholarship at PNB, and dancing at numerous companies around the US- she was never really pushed into roles because she was so tall. Now, inspired to dance again after having kids, she is beyond gorgeous and has this ferocious tenacity, ridiculous dedication and now that she is pushing for herself she taking on roles with fire and having experienced everything she has gone through as a mom, as a tall dancer, and as a teacher she brings something extra to her dancing. Then there is Carlos, who was a student of mine, coming from the same area. Training him to get scholarship at the Rock School then continuing his education at University of North Carolina School of the Arts, he is back. After fighting his family to let him dance, he comes back gorgeous, strong and long. Jaquie was told she was never going to dance. The studio owner would tell her to her face that she would never dance. Then I came to her studio as a teacher. After pushing and stretching, and challenging her, she got into summer programs and attended. She then got a scholarship to go to University. She is going to commute back and forth to dance. Amanda did everything right in ballet. Went year round at the Rock School, spent every summer at SAB, but ballet life got to her, and she decided to become an RN. Now at a top ranked hospital in the US, she decided she missed dancing, and wanted to start again. These are just short abbreviated versions of their stories, but their stories are also just beginning. It is really that spectacular.
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In the world of ballet, variations define a dancer’s career. As artists a variation is the one moment where technique, artistry and years of daunting rehearsals finally meet. A 2-3 Act ballet is carried by the principals, and the defining moment for them are their variations. For a female in the role(s) Odette/Odile, she is first pushed emotionally, and technically as Odette. Then in a ferocious breath she seductively attacks with stamina, the role of Odile. Then, she has to turn back int Odette, and die. Exhausting. I mean not only does the prima have to act, change roles, act some more, she also has to do two full on PDDs and do an epic 4th act finale. Pretty impressive.
When it comes to the men in ballet, their variations are always kind of bland. It is usually two jumping passes, followed by two pirouette combinations, executed by flawless double tours or entrechat sixs, and then some have a quality menage added in. Either way, these variations have turned into like… the most redundant yet insanely tricked out performances. Like Roberto Bolle cranking out 40 Entrechat six in Giselle… Or Daniil Simkin’s insane turning combos for Corsaire… Or Osiel Gounod in … like every variation. (If you don’t know who he is… youtube that $h!t… it’s like insane.)
Now, there are a lot of male variations that are actually super musical, and super beautiful that are overlooked. Granted… Most of them are either Balanchine, or specific to a company’s repertory. BUUUUT… Regardless… We should take a look at these fantastic five variations for men.
1. “Name of Prince” Variation in ACT II… Paris Opera’s – Nureyev version gives the male two super beautiful variations in the second act. The first uses the music that Balanchine’s Nutcracker uses to bridge party and battle scene. It is a very long variation (7 minutes), but super gorgeous, and demonstrates that boys have arabesques too. It could be that Nureyev really reinvented the male, and as a male ballet dancer he was able to create roles for other men within the confinements of classical ballet. The second variation is from the music sometimes used in ACT III of sleeping beauty for one of the jewels. It is very classical as well but has really gorgeous enveloppe moments. Then, Royal Ballet also gives a super luscious, kind of sensual variation in the second act as well. As sensual as fairytale princes get.
2. Balanchine’s Apollo. Besides the fact that this is probably one of the only ballets with a male name as the title and has the title/leading role… With music by Stravinsky, Apollo never leaves the stage but has two brilliant variations. One is really raw, and the other is really refined. Balanchine cut the first variation and birthing, but people since have put both back in. Both variations are incredibly musical, one of the things that I adore about Balanchine. I think for a lot of male dancers who were trained in the Balanchine aesthetic, and for men in Balanchine companies, this ballet is used to really define their presence in the company. I think NYCB currently has Chase Finlay as the face of Apollo, and prior to him was Nilas Martins (both blonde… kind of suspicious) but, both made names for themselves in the role. David’s Dream Casting: Alexandre Hammoudi (aka Baby Daddy) in Apollo.
3. The Male Variation(s) from Sylvia. Besides the fact that the Delibes’ score is super danceable and kind of cute… (FUN FACT: the original production of Sylvia was created to open the Palais Garnier for Paris Opera, and the costumes were designed by Lacoste) In the Balanchine PDD, the male is variation is structured like a classical variation, but has really beautiful nuances added in. And like a lot of the classical-like Balanchine male variations (Tchai Pas, Theme and Variations), each one was modified so the steps vary by who dances/staged it. In the Ashton version of Sylvia, Aminta has numerous gorgeous variations. I actually think that the Ashton Version is only danced at American Ballet Theatre, and Royal Ballet. Paris Opera has a version of Sylvia, but it is more contemporary or modern, so it doesn’t count for this list. If we counted that… Then we would have to count numerous other new ballets like Chroma, In the Middle, Somewhat Elevated, every ballet created by Complexions, Cedar Lake and LINES, and the Cranko Ballets… Though… I really should count the Cranko Ballets… )
4. The male variations in John Cranko’s Onegin are like beyond roles and somehow have combined real life and ballet. The music used for the male variations aren’t awfully heavy, and scary sounding. The variations also create this beautiful emotional prism for a male ballet dancer. All of the Cranko characters are always so dynamic. I’ve never seen it live, but have watched the full length on Youtube on five different companies. It is incredible. When I was a student, I never really wanted to dance Onegin, but now in retrospect it is so beautiful to me and I am like -_____- (that is my Snorlax face)… Not that I was ever good enough, or would ever have been cast in Onegin… but still… a boy can dream.
5. The Liza Variation, from Balanchine’s Who Cares? Music by Gershwin. Probably one of the younger variations as it was choreographed in 1937, but it is super fun. Kind of jazzy, okay, super jazzy but really fun dancing. Seriously. If you ever have the chance to preform it, it is one of the must enjoyable variations to get through. It isn’t like trying to get through the male variation in Theme and Variations or random crazy turns from Corsaire. Did I mention, it really is just plain fun? And Baryshnikov in a Balanchine ballet = love. (Click Here = https://youtu.be/GnWxmELOcBI)
The Male Variation in the Satanella Pas De Deux from the Carnival of Venice tied with the male variation for Harlequinade for variations in classical ballet that aren’t dance enough. Both are obviously classical variations, but I feel like these two ballets are underused. Plus… I think the music is kind of cute. I also think these two male variations are more age appropriate for boys (11-16) competing at competitions. I mean what 11 year old boy should be doing Swan Lake? Then, because I love Balanchine, there are the roles that don’t really have variations but are gorgeous: the male lead in Rubies or Diamonds, the male in the walking pas de trois from Emeralds. I think all the male leads in Symphony in C or Palais Cristal, the male leads in Western Symphony, the pas de deux from Agon.)
Finally, I would like to take the time to talk about Lady of the Camellias, music by Chopin, and choreographed by John Neumeier is another “newer” classic work. It premiered in 1978 with Marcia Haydee, and is a super beautiful full length with male variations… The downside is that even though the story is the same, Val Caniparoli used the same music and redid it, maybe even better … But in this version, the male variations are great but they really aren’t as dynamic as the females. Lucia Lacarra slayed this for the ballet gods.
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So, you have a beard, you drink independent craft beers, and on the weekends you are hiking, rock climbing or making funny Youtube Videos. What does this all mean? You might just be a ballet dancer, or you might just be one of the thousands of men who are embracing the lumbersexual trend. If you are into this trend, you might be one of the male dancers who drinks overpriced, but luxurious hand crafted espresso, or you might own some top of the line cool bike. Sounds about the majority of the younger male ballet dance population. While in a recent articles of beards and facial hair, a conclusion was drawn that as facial hair is an extremely popular trend, men are now more than ever overcompensating for masculinity (Esquire, Details, GQ, and NYT Style). How does this translate into ballet? It really doesn’t, because most of the time, you have to be clean shaven in performances.
Now, if you aren’t at this point of coolness, and you are still training, or you are a mom/dad reading this trying to prepare your son for ballet… Well, here we go again… MANLYBALLET…
The Dance Belt: Things to Know about Dance Belts
While pro athletes use cups and jock straps, ballet dancers have the feared dance belt. Mostly feared because of it’s thong back, a dance belt offers support and protection for male genitals. Reasoning for the thong back? Because tights, booty shorts and other male ballet costumes are so tight, the avoidance of lines is necessary. Also, dance belts create a smooth clean line in front, so the audience isn’t distracted by lumps and bumps. The Great Debate: Besides Gaynor Mindens, a controversial topic in ballet is how to wear a dance belt. The debate is somewhat like the toilet paper over or under debate. While some men prefer things to face down, others prefer everything to point up. Preference of comfort? Or what actually protects the goods?
What is the purpose of a male ballet dancer?
It seems that the glory always goes to the ballerinas of ballet, but men seem to be the ones who gain notoriety and make a place in history for themselves. Why is this? While balletcompanies need a lavish number of females to stage productions like Swan Lake, and Balanchine glorified ballet as woman… The majority of the population sees female ballet dancers are the epitome of grace and elegance. Male ballet dancers are recognized as athletic and powerful.
It can be argued that male ballet dancers are there to support, lift and partner a woman, but if you took out men from ballet… You have nothing. Even though most ballets are female driven, the male ballet dancer plays a crucial role: The Hero. While feminists who have written in say that this blog is ______(insert any number of words)____, the reality is ballet, as an art form, is the one who is sexist. So, recently, I saw a Southern California, crappy school production of La Slyphide with zero men… I was so confused. Seriously… What if you were to do Swan Lake and take out the men… Who would save Odette? There would be no need for Black Swan, or any other act. Literally we would just be left with a prologue… Wait, not even that. No one would turn her into a swan. I guess we could argue maybe if there were no men in the world, there would no drama? Haha Just kidding.
While new choreographers have utilized men in outstanding ways, and have created vibrant roles for men, the male ballet dancer is still shrouded by mystery.
We know male ballet dancers are just as athletic as any sportsman.
We know that male ballet dancers are just as graceful and musical as any ballerina.
We know that male ballet dancers have some of the most beautiful bodies in art.
Myth: There are more jobs for men and the women in ballet.
Well older ballet teachers say that there are more jobs for men than women in ballet that would be a lie.
There have always been jobs for both men and women in ballet, but unfortunately there are more female students training in ballet making female jobs more competitive. This has slightly shifted. In the 70’s there were more women studying ballet than men. This has shifted due to amazing men, the progression of society and social norms, and brilliant men who weren’t afraid to push the boundaries.
The first generation of super start male ballet dancers included men like Rudolf Nureyev, Edward Villela, Mikhail Baryshnikov, Jacques D’Amboise and Fernando Bujones. They made ballet more accessible and relatable and presented ballet as athletic, powerful and regal. These men ushered in the powerhouse male ballet dancer. This brought us the golden age of ABT: Ethan Stiefal, Angel Corella, Jose Manuel Carreno; Paris Opera’s Manuel Legris and Jose Martinez. Royal’s Carlos Acosta. The tail end of this generation of powerhouses are: Roberto Bolle, Marcelo Gomes, David Hallberg, Steven McCrae etc…
Now there is a new generation of male ballet dancers that have surpassed the technical abilities of everyone previous and have created a new vocabulary of movement, quality, and choreography. This generation we have Daniil Simkin, Jeffery Cirio, Justin Peck, and other really young stars. Most ballet super stars are still in training right now. This gives credit to social media like IG, VINE and YouTube. America is becoming a lot like the Vaganova school in a sense, by prepping superstars at the school level and publicizing them greatly before they even have a job.
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
So, here we go… Go make this into a reality… Thanks.