nycb – A Ballet Education

September 18, 2018

Off With Their Heads…

The internet has fueled the fire, and it seems now, that with City Ballet about to open tonight, we are demanding for their heads. Anyone who has ever danced for the historic New York City Ballet is putting out their opinions, opinions like, bring back the original Balanchine dancers. One of my favorite things about all of these former Balanchine dancers complaining, is they are a part of the generation that believes they are better than most because they come from a “golden age”. And so, like a lot of problems we have today, they are also blinded by history and a ballet culture that is on it’s way out.

While others in the ballet world are demanding for a new female artistic director who is both artistic and business savvy for today’s audiences to be brought in (someone like… Lourdes Lopez, Miami City Ballet’s AD who just won the Dance Magazine award, or Jennifer Ringer who has successfully turned the Colburn School in Los Angeles into a thriving hub for Balanchine and Contemporary training). The internet has demanded that we strip New York City Ballet and the School of American Ballet of their prestige and honor.

Others have described that the leadership of City Ballet all should be replaced and that their new marketing campaign is just simply to sell sex. The new ad for City Ballet is genius… Not only is it sexy, but it is also beautiful and it is making ballet more modern and making it more understandable and relatable to the massive crowds of New York City. Ballet shouldn’t just be for those on the Upper East and Upper West. The former generation of Balanchine Dancers is also getting old, quite old. And from the 400 some ballets that were left from Balanchine, how many are truly worth saving? It isn’t like we saved very may ballets from the golden age of the Ballet Russes, or the Massine ballets….

People are demanding a lot from New York City Ballet. Moms want their daughters to be protected by an institution whose mission statement is about ballet, not raising kids. Dancers are wanting compensation for their lack of talent or rise to fame. Audiences and donors are withdrawing in fear of being shamed for supporting City Ballet. All of this because people made poor choices, bad decisions, and now somehow we have ruined the Balanchine Legacy and tarnished New York City Ballet’s name.

(And I am not saying or not saying that these men did or didn’t deserve things, and I am definitely not saying that horrific things didn’t take place, are taking place, and have taken place at the School of American Ballet and New York City Ballet… I’m just saying)

The opinion piece in the New York Times was rather harsh, and simply to say, I think it just added fire and made the Balanchine Legacy look even worse. While I do applaud those who were once a part of the Balanchine Generation, I wonder if it is time for the Balanchine era to end regardless. Is it time to close this chapter on the Balanchine Aesthetic and move on? Ballet is becoming more and more demanding and the need for pure technical training is becoming more apparent. The School of American Ballet isn’t producing the dancers that it once was, and their students are getting jobs like they once were. Is it time for City Ballet to become a new kind of company that emphasizes technique, musicality, and modernism and not create a one note dancer?

Is it time to fundamentally change the company’s aesthetic that it became famous for? It seems like it because with everyone demanding that this is the end of City of Ballet… something has to change. What is going to change? How is it going to change? Will it ever change? Who knows?

While I think that NYCB has done a terrible job at reacting and handling all of these accusations, actual events, I do think that even more terrible things are going to come out. Working for Balanchine wasn’t easy either, and I think that all of these “Balanchine Era” dancers are also forgetting that scandals were happening back then as well… Because of Balanchine, body type become the most important thing and do we really want people who are so focused on skinny, skinny, skinny to be at the helm? Who knows? They also were a part of the culture of don’t talk about it and be silent to whatever was happening around them because “greatness” was happening in the roo.

Regardless, you all wanted my thoughts on the NYCB scandals, and I don’t have any besides the following:

Ballet isn’t bad… people are bad, and make poor decisions… sometimes forgivable, sometimes unforgivable…. Separate the two please… it doesn’t help we let men with misogynistic, racial, and particular body views be in full control without a checks and balance system. But no one person should ever have total control or say at any institution that is called communism. It is sad to see such institutions fall to the pressures of time, the demand of the art form, and the unfailing disappointment of human actions and preferences. My greatest love in life is ballet, and I will continue to do whatever I can do to keep helping ballet progress for the better.

Where our ballet culture is now and where we want ballet culture to be… this is the conversation all ballet instititions should be having.

https://www.washingtonpost.com/entertainment/theater_dance/in-wake-of-suit-against-new-york-city-balletaudiences-and-funders-should-demand-answers/2018/09/16/88f184a4-b5da-11e8-b79f-f6e31e555258_story.html?noredirect=on&utm_term=.608144240bb5

http://www.foxnews.com/entertainment/2018/09/16/nyc-fires-2-dancers-over-accusations-nude-photo-sharing-ring.html

Are Men Actually Running Ballet?

Controversies aside… who is actually running ballet? It is funny, as a gay man in ballet to look at what is being written in the press about ballet, and how ballet is being ran by men, critiqued by men, and structured by men… When if you look at the ballet infrastructure as a whole… it’s not men at all.

There is some fact that men run ballet, if we are saying that Artistic Directors (ADs) run the entire scope of ballet.

Artistic Directors do have a lot of power in a ballet company when it comes to aesthetic and casting, but it isn’t a dictatorship, as the AD has to answer to the Executive Director, Board, Trustees and the general public (which now has a ton of say). Not to mention the ballets are prepared by a rather large staff of ballet mistresses, masters and repetiteurs.

But, if you have been inside a ballet company, you know it takes a monstrous amount of people to make a ballet company successful and run.

So, who is really in control of ballet? The answer is simple… females.

If you look at the executive staff, the board, the board of trustees, school administration… the majority is female.

In terms of shaping body types, or selecting body types during puberty for these elite schools… most school directors in the US are females… Not to mention the majority of school owners and studio owners are female and they are the ones preparing children to enter into the world of ballet. Not to mention it is usually the moms of the dance world pushing their children to help them achieve their dreams of making it into a top company, with whatever pressures that comes with, and psychological effects it has on the child…

In terms of employment of dancers females outnumber males 3:1. Not to mention when looking up the top ballet dancers of all time only three are men.

So, I wonder where all this ballet needs more women in power is coming from? Is it because there aren’t enough female AD’s and choreographers?

Karen Kain, National Ballet of Canada (Not to mention National Ballet of Canada was co-founded by Celia Franca)
Aurelie Dupont, Paris Opera
Tamara Rojo, English National Ballet
Lourdes Lopez, Miami City Ballet
Julie Kent, Washington Ballet
Patricia Barker, Royal New Zealand
Virginia Johnson, Dance Theatre of Harlem
Victoria Morgan, Cincinnati Ballet
Emily Molnar, Ballet BC
Suzanne Farrell, Suzanne Farrell Ballet
Dorothy Pugh, Ballet Memphis
co AD, Carinne Binda, Sacramento Ballet

Cristal Pite, Annabelle Lopez Ochoa, Martha Graham, Twyla Tharp (who also resided at ABT), Agnes De Mille (who also resided at ABT), Bronislava Nijinska, Trisha Brown, Judith Jameson, Ninette de Valois, Yagpin Wang, Aszure Barton, Isadora Duncan, Pina Bausch, Lauren Lovette, Mia Michaels, Sonya Tayeh, Carolyn Carlson, Debbie Allen, Katherine Dunham, Marguerite Porter, Marie Agnes Gillot, Susan Stroman, Natalia Makarova…. and many more…

If we think of the current choreographers and the ones who are rising to the top, they are men… and is that a bad thing. If they are more talented and creating more accessible work, then they deserve the credit? Or don’t they, because they are men?

So, are we saying that none of this is good enough because until ballet is 50% or more is women it isn’t going to be fair. Well, I hate to break it to you all… if you look at ballet companies overall… and who is running their boards, and just plain out executive directorships… it is women, at about 80% of the executive and artistic staff. Not to mention it is women who are running the Ballet and Dance Press scene… Dance Media has monopolized the publishing industry and advertising industry of dance… all female.

Dance Media is Vice President & Group Publisher female… Editorial vice president female…

Dance Magazine, Editor in Chief, Female
Dance Spirit, Editor in Chief, Female
Pointe, Editor in Chief, Female
Dance Teacher, Editor in Chief, Female
all of the awards run by females, produced by Break the Floor (male)

So, what you are seeing and reading is curated and approved for by females.

Which means… we are saying that the lack of change in ballet isn’t just the male AD’s of ballet (and don’t get me wrong… I think they are a large part of the problem in ballet…), but they aren’t the only ones to blame and point the finger at… I’m just presenting some of the facts about what we see, what we are seeing on stage, what we are reading, and who is actually running the overall spectrum of ballet.

The board can easily pressure an AD to hire or fire… we saw that happen at PA Ballet easily… We also saw how careful boards are when hiring… Ballet West… We also know that one man isn’t running the entire show… He might be running casting and hires… but the legal, finance, logistics, structure of ballet is being ran by women.

Also, the Youth America Grand Prix, that is dictating a lot of how dancers are training is ran by a woman. So is the Prix de Lausanne… USA IBC, which is happening this year, is ran by a woman both on the Artistic and Executive side…

I’ve done the legwork for you…

Let’s take a look at New York City Ballet by the numbers

Of the nine elected positions on NYCB’s board, three are women.

The head ballet mistress… female.

4/9 ballet masters are female

Children’s Ballet Master… female.

The entire board has 68 names listed, some deceased. 27 of them are women.

The executive director to NYCB is a woman.

In the executive office positions- all are women.

In communication and special projects, 2/3 are women.

In development and special events 14/19 are women, of the 7 directorships, 5 are women.

In marketing and media, the majority are women, the senior director of marketing and media is also a female.

The director of education and and Public programs… a woman.

Director of Production… a woman.

Now onto ABT… co-founded by a female…

Executive director… Female.

ABT’s AD of the JKO school… female.

Pr, Marketing, Chief Admin, Director of Education all female. Principal ballet mistress, female.

Admins Executive Officers… all female.

Marketing and communications 5/7 female…

The board officers … 3/7 female

Executive Committee… 7/`5 female

San Francisco Ballet…

3/6 ballet masters are female.

of the 8 alive listed board officers…6 are female…

Boston Ballet

female executive director…

14/27 females on the board….

2/7 females on the artistic staff

3/4 admin females…

9/10 development female…

18/ 21 marketing and communications female

2/5 financiers female

1/1 human resource… female

2/16 production female

AD of Boston Ballet School Female…

Houston Ballet

9/15 artistic staff female

7/10 board members female

1/3 executive admin female

5/5 finance female

2/4 info and technology female

5/7 human resources

11/ 14 development female

14/15 marketing and PR

Alvin Ailey

former AD was a female…

2/4 executive staff female

8/11 Development

11/13 Marketing

4/5 PR

1/1 Film

10/ 13 Finance and Admin

Pacific North West Ballet, co founded by a woman

Female Executive Director, Development Director, Marketing and Communications Director, Human Resources Director…

President of board.. female…

Committee Chairs … 3/5 female

14/17 Admin staff female

Smaller Companies…

Carolina Ballet

Female Executive Director, Director of Finance, Admin Director, Development Director,Summer Intensive AD,

Ballet Idaho

Female Executive director, marketing director, business manager, academy director and more

Atlanta Ballet

1/2 executive staff

1/4 artistic staff

4/6 finance and admin

5/6 development

6/7 marketing and pr

4/4 ticketing

2/5 production

5/6 costumes

Orlando Ballet

Former female ED. looking for a new one

9/12 board members

Ballet Arizona

Female Executive Director

2/5 females in the artistic staff

School manager, director of finance, director of development, stage manager, accounting manager and most all of the positions… female.

Colorado Ballet

5/7 Artistic Staff female

9/16 executive board positions

38/ 64 directors and staff female

April 17, 2017April 17, 2017

Honoring the legend, the man, the humble Julio Bocca.

On Friday night, at the Lincoln Center’s David H. Koch Theater, the ballet world came together to celebrate one man: Julio Bocca. Most nights at the ballet are great, but this night was exceptional. The night began with the crowd filling the lobby of Lincoln Center, the entire ballet world seemed to be there. Among the faces in the crowd were Julie Kent, Isabella Boylston, Lauren Lovette, Stella Abrera (who was nominated for a Prix Benois de la Danse for her performance as Aurora in the Sleeping Beauty), The Olsen Twins, and more. The evening promised to be one of excitement as the playbill listed a long list of principal star dancers. With that many principals, it promised to be a stellar night.

The evening opened with projections of various dancers from around the world wishing Julio Bocca a happy birthday while in front dancers were planning a party and toasting. As it all wound down, there was Marcello Gomes who gave the opening speech. A speech about inspiration and the admiration he has for such a great dancer. He then danced with Luciana Paris in Twyla Tharp’s My Way from Sinatra Suite. This was followed by ballroom dancers Cecilia Figaredo and Hernan Piquin dancing to Michelangelo 70 by Astor Piazzolla. NYCB’s Joaquin De Luz came out to talk about Mr. Bocca and was followed by him dancing Jerome Robbins’ Other Dances with Tiler Peck. A series of beautiful solo variations and cute playfulness engulfed Lincoln Center.

Next, another video of Julio Bocca describing what it was like to dance Romeo and Juliet with Natalia Makarova. This was followed by a letter and voice clip from the Swan Queen herself. It started with a video of Natalia in the balcony scene with Marcelo Gomes being her Romeo. This was then followed with Maria Riccetto (Ballet Nacional SODRE and formerly ABT running out). The two performed MacMillan’s luscious pas de deux. Have not seen her dance since she left ABT, but she has definitely grown as an artist. It was adorable and fresh, everything a Juliet should be. Marcelo pushed his jumps and turns insanely during the opening solo. It was just beautiful dancing.

Yuan Yuan Tan and Vitor Luiz performed the Final Pas e Deux from Bells by Yui Possokhov. Her beautiful red Leo showcased her ridiculous ferocious body and her unbelievable movement quality.

JULIO BOCCA: A TRIBUTE TO A DANCE LEGEND — photo by VAM, courtesy of the YAGP

This was followed by Julio Bocca’s thoughts on DON Q, and started with a video of Mr. Bocca and Tamara Rojo performing the exciting pas de deux. Emerging from the wings was Tamara Rojo and Isaac Hernandez of English National Ballet. The two dazzled the crowds with insane balances, never ending pirouettes, triple fouettes, and a sassy playfulness on Ms. Rojo’s part. It was probably the best Kitri I have ever seen.

Gonzalo Garcia of NYCB performed the solo from Mambo Suite, a fun and male flirty variation. Followed by Nina Ananiashvili of State Ballet of Georgia performing Lekuri, a Soviet folk dance in pointe shoes. Yuan Yuan Tan and Vitor Luz came back out to performing the opening of Black Swan Pas De Deux. The audience wanted more but they only did the pas de deux. Her take on black swan is more sly and sleek, befitting to her body.

LaCarra_Dino_YAGP2017BOCCA_GALA_VAM Photo 3.jpg — Photo by VAM, courtesy of the YAGP

Lucia LaCarra and Marlon Dino performed Spiral Twist by Russell Maliphant. This gorgeous, gorgeous pas de deux was complex and intricate. Somewhere between ballet and figure skating the piece was intellectual and thought-provoking for the audience. No pointe shoes, just simple gray costumes, the two moved so elegantly and so luscious that the audience went wild.

Paris_Colomba_YAGP2017BOCCA_GALA_VAM Photo 1.jpg — Photo by VAM, courtesy of the YAGP

Luciana Paris and Rodrigo Colomba (Teatro Folklorico Nacional-Argentina) performed Presente, a world premier by Analia Gonzalez. This super sexy pas de deux made for a very entertaining number. He was strong, supportive, and so into her, it turned the audience on. It was so sexy. His large hands all over her tiny waist and body… She danced in just a long sleeve leotard, he danced in pants and a tank top… Oooh, hot and bothered all over again.

Isabelle Guerin and Manual Legris, former etoiles of Paris Opera, danced Farewell Waltz. A very subtle pas de deux about the end of life. She is everything I have ever imagined about watching her dance life. Slick and effortless technique. He was everything he needed to be, strong but insecure, effortless but distraught.

Vitor Luz performed Percussion 4 from Bob Fosse.

The night ended with all of the dancers toasting Julio Bocca on stage. For most of the young YAGP competitors, they probably didn’t know who Julio Bocca was until now. But, if they could take anything away from the evening it was the humility and thoughtfulness of this man. Everything that was said about him reflected his genuine qualities, his humble attitude, and his never ending hard work.

www.YAGP.org

//Thank you to everyone who sponsored me to go to the YAGP.

May 8, 2016May 8, 2016

IHOP… International House of Primas

I hope everyone had a great Mother’s Day! This week has been a crazy amazing week for ballet… and this next week is going to be a great week as well. This week’s insta theme is International Ballet… So, if you missed anything this week in ballet, here are some of the highlights:

Royal Ballet premiered “Frankenstein” which will be on stage till May 27. Choreography by Liam Scarlett. Set design by John Macfarlane. Music by Lowell Liebermann

Boston Ballet announced their new 5-year partnership with William Forsythe. What does this mean? Over the next five years, this world-renowned choreographer will present a new ballet each year, and presenting already existing Forsythe repertory to the company. It is already reflected in the 2016-2017 season announcement… But, this will also mean that Boston Ballet will shift from a more classical repertory to a more contemporary repertory, which will make them stand out among other top companies here in the US. This will also mean a lot of their more contemporary dancers will be utilized… Boston Ballet this month is presenting their full-length “Swan Lake“.

Most ballet companies around the world have announced their 2016-2017 season, roster, promotions and new hires… except NYCB who will announce theirs after the SAB workshop and then in Sarasota. (Tradition) This month, like every end of season NYCB closes with “midsummers“.

ABT goes up at the Met tomorrow debuting with the powerhouse ballet “Sylvia“, which means… you can buy my leading ladies of ABT on a set of stationary cards, women’s and junior’s shirts, and a mug… I haven’t seen them or know how they will be selling the, I just know they are… The image isn’t the leading ladies of ABT I did, I revised it per their request and so it becomes available tomorrow. Don’t know if it will be offered in Los Angeles when they come to Dorothy Chandler in July.

Stella in Giselle, Isabella in their new Sleeping Beauty, Misty in Corsaire, Maria in Don Q, Gillian in Sylvia, Veronika in Swan Lake, Polina in Raymonda, Hee in Bayadere, Diana in Romeo and Juliet… FYI Polina pulled out of her performances at ABT because of an “injury” or actual injury but this is the second season in a row she has pulled out of the Met Season….

Houston Ballet is getting ready to present a mixed repertory on May 26, that is kind of to die for… Serenade, Sir Kenneth MacMillan’s Gloria, and HB’s premier of Alexander Akeman’s Cacti. Their rehearsal videos are all over instagram.

Nederlands Dance Theatre is performing “Separate Ways” May 11-14

ALL POSTERS ON SALE FOR THE NEXT TWO DAYS FOR THE CHEAPEST THEY HAVE EVER BEEN!!! $19.99 !!! (click here to shop the blog)

I will be posting more #corpsdeballetconfessional this week as well… I have gotten really behind on all that… I also have some super cool interviews coming together…

BALANCHINE FEST!!! WATCH ASAP BEFORE IT GETS TAKEN DOWN LOL….

I don’t know who Joanne Cowley is… or how she got away with it… so enjoy while you can…

With debut performances by leads Tiler Peck, Amar Ramasar and Lauren King. Performance February 17, 2016.

Cast has leads Sara Mearns, Ask la Cour and Savannah Lowery. Performed 2/16/16

Most of Peter Martins’ staging of La Sylphide with cast:
The Sylph: Tiler Peck
James: Andrew Veyette
Madge Gwyneth Muller
Effie: Lauren King
Gurn: Troy Schumacher
James Mother: Marika Anderson
performed the evening of 2/14/16.

Theme:
1.Megan Le Crone, Cameron Dieck
2. Lauren King, Daniel Appelbaum
3. Ashley Laracey, Justin Peck

Melancholic: Anthony Huxley
Sanguinic: Ana Sophia Scheller, Jared Angle
Phlegmatic: Ask la Cour
Choleric: Teresa Reichlen

Published on Feb 13, 2016

First movement recorded 2/7/16. The remainder recorded 2/3/16. The leads are Tiler Peck and Andrew Veyette of NYCB.

Published on Jan 31, 2016

First 3 movements performed 1/26/16. Fourth movement and finale performed 1/20/16. Cast:
1st movement: Megan Fairchild, Gonzalo Garcia
2nd movment: Theresa Reichlen, Tyler Angle
3rd movement: Erica Pereira, Antonio Carmena
4th movment: Brittany Pollack, Taylor Stanley

February 12, 2016

Falling in Love with Pas De Deuxs… Valentine’s Day

All great love stories are great because of the adversities the protagonists face. In ballet, all great love stories end in death. If we think of the great love stories of ballet… everyone always dies. Is it the worst thing in the world? No, but it sure is depressing. Of all the great love stories by far, Romeo and Juliet will always take on Valentine’s Day… Last year, I felt like everyone, and their mom did R + J for Valentine’s Day weekend. This year I feel like everyone is doing Don Q. Which is good because no one dies. Unfortunately, Don Q isn’t known for the epic love story; it is known for great technical variations…

The tragedy is always great, it sells tickets and makes for great posters and PR. But, really, the love stories within ballet are only made better by beautiful Pas de Deux, and hands down Kenneth Macmillan knows how to do romance: Romeo and Juliet and Manon. Then we have Val Caniparoli’s version of Lady of the Camellias and Onegin; the work is epic. You can see Boston Ballet this month perform it. Click here for tickets and preview.
And finally, I actually really enjoy the pas de deux from Month in the Country by Ashton. Finally, even though it isn’t a “romance” per say… I love the Diamonds pas de deux in Balanchine’s Jewels.

and a killer look at pas de deux from NYCB

July 4, 2015November 5, 2015

ONE YEAR: a Ballet Education

I can’t believe this blog has survived a year.
Ballet at a glance in a year:
Misty Copeland and Stella Abrera became the first of their respective ethnicities to ever become principals at American Ballet.
The Cirio Collective was born.
Shin-Yong Kim won the YAGP at 14.
NYCB made the front page of the NYT, above the crease.
HUFF Post published a beautiful retrospect of ballet.
We said goodbye to numerous influential ballet dancers as they retired from their respective companies: Wendy Whelan, Carla Korbes, Julie Kent, Sylvie Guillem, Paloma Herrera, Xiomara Reyes, Carlos Acosta, Auralie Dupont.
Patricia McBride — Kennedy Center Honoree
Misty Coepland, a ballet dancer made the cover of TIME magazine.
Royal Ballet still continues to annoy me, though Marcelino Sambé has been promoted to soloist.
Ballet San Jose changed their name.
Of the companies to look out for, only one really did well this season… Which is sad.
My company, Redlands Dance Theatre started rehearsals.
Dance still continues to expand through Social Media.
A Ballet Education financed Jessy Gonazalez to attend LA Ballet’s Summer Program.
A Ballet Education provided 32 pairs of pointe shoes to students around the US.

A Ballet Education has received over 13,000 hate e-mails, 1 Million Impressions, 800,000 unique visitors, and is read in 172 countries.

As I spend my 4th of July at the Beach, I wanted to say thank you for everything.
It has been a crazy year. Now, onto Fashion Week. I will try to keep updating, but my focus is going to be on gearing up for premiering at Fashion Week. Stay Tuned and get quick updates via our mailing list and Facebook.

May 26, 2015

Ballets to Buy

This week there are a couple great new DVDs to get. NYCB’s Ballet 422 about Justin Peck’s premier. And ABT’s PBS Modern Masters, plus the book! If you buy all 3, you are roughly looking at 100 bucks, but well worth it.

pPBS3-21360075reg 11350642_10155631759760529_7558825850388951764_n

Update: Our June Issue is a little behind, I’ve had a lot going on at work, and some health issues.
If you haven’t seen the MODREN MASTERS you can see the whole special below.
http://video.pbs.org/viralplayer/2365487888

May 24, 2015

The American Ballerina: the 21st century prima

The American Ballerina in the 21st century

What truly does it mean to be an American Ballerina?
The idea of an American Ballerina isn’t far fetched at all, and actually since the cold war, America has become one of greatest manufacturers of ballet dancers. While up until the Cold War, ballet was dominated by the Russians. The history of ballet is funny, because as each generation of prima ballerinas comes to the forefront, they are influenced by culture, society, and what is “popular” in ballet. Today, we are blessed with the wonders of youtube and ballet in cinema, so we can see a variety of ballet dancers instantaneously. So, as a reflection of culture, we now have a true generation of American Ballerinas.

So, we have to kind of set up some conditions that define an American Ballerina:

1. Born in the United States.
2. Trained in the United States.
3. Dances with an American Company.
4. Has achieved the rank of principal dancer.
5. Has contributed to the next generation of dancers.

As we are at a time in ballet that celebrates the most innovate choreography, the most brilliant music, and the most technical phase of ballet, there are two extraordinary women that come to mind:

Tiler Peck and Lia Cirio
Ironically, neither dancer has the typical ballet body type. When we say typical we mean Russian girl body type, or Paris Opera Body type. Additionally, the two women are completely different. These two women though have created a new space and new ideal for dance. Tiler Peck has created a generation of a more jazz meets Balanchine dancer making it possible for competitive studio trained dancers transition into ballet companies and schools. While, Lia Cirio has created an athletic provocative archetype of a prima ballerina. The only two things these women really have in common is really good teeth and a really great smile

The Run Down on these women:

Tiler Peck: sporadic training in the greater Los Angeles area, transitioning to School of American Ballet, joined NYCB in 2004, became a principal in 2009. Gorgeous turns, and fills the stage. First was really seen in the welcome to SAB DVD. Balanchine trained. Subtle sensitivity and sweetness in her approach to roles.
lia cirio american ballerina

Lia Cirio: random school, transitioning to CPYB, joined Boston Ballet in 2004, became a soloist in 2007, joined the Trey McIntyre project, came back to BB in 2010 to become promoted to principal. Banging hyperextension, ferocious arabesque. First major appearance in ballet: YAGP 2003. Classically trained. A body articulate conscious approach to a role.

So what makes these two women stand out compared to say… Hee Seo or Maria Kotchekova? Well, besides the fact that both of these women aren’t born and raised in the US, they are both ridiculously Russian trained, which is gorgeous, I’m not saying that they are awful. I am saying that they fit previous archetype of what a prima ballerina is. While Hee Seo was groomed to take Julie Kent’s place, Maria Kotchekova became the standard of SFB’s short girl. While Misty Copeland has made the compelling presence and awareness of race in ballet, I don’t think her actual dancing is ground breaking. (sorry, I know I am going to hear shit for that) Then we have other leading women in the US: Carrie Imler at PNB creating the athletic look at PNB, Isabella Boylston at ABT has reinvented the Paloma Herrera, but with better arms. Maria Kowroski is like the Balanchine version of Sylvie. Wendy Whelan created the skinny fit athletic body archetype.

As these two women expand their repertory, who knows what they will create for the ballet world? It’s exciting.
—
In other ballet news: ABT: Paloma Herrera is getting a weird farewell with a matinee performance of Giselle, followed by Xiomara Reyes’s farewell at 7:30. Totally getting gipped, but maybe her name just doesn’t sell seats? ABT’s PBS special AMERICAN MASTER Series was beyond gorgeous.
NYCB & SFB: have a ridiculously amount of talented people in the ranks of soloists and corps but won’t be promoted until others retire. *cough cough* hang up the pointe shoes *cough cough*
Paris Opera: Natalie Portman’s Baby Daddy is making amazing moves and changes at POB.
PNB: Please promote Leta already.
Atlanta Ballet: Had the most beautiful end to their season.
Milwaukee Ballet: Their version of Cinderella was an okay finish for the season.
—
Little Jessy is prepping for LA BALLET. Her go fund me is still up, any donations will go towards pointe shoes, leotards etc. http://www.gofundme.com/jessylaballet
—
Don’t forget to use the code SCIE15 for 15% off Eros Sportswear for Men.
–—

My guide to fierceness is almost done. Holla for a dolla!

May 15, 2015

Getting Ready For Summer: UPDATE

first issue copy

Totally getting excited as we are getting ready to launch our first issue…
It is a lot of hard work, and truth be told, I don’t know if it is going to come out JUNE 1, but I am hoping.
We have partnered up with some really great advertisers, offering your guys some really great deals!!!

Also, we are on the hunt for good ballet stories, and also, with the success of our GoFundMe Campaign for Jessy, we really would like to help out others. So, any donations made to http://www.gofundme.com/balletblog will now help aspiring ballet students.

If you are an aspiring dancer, or established dancer you can now submit your photos to aballeteducation@gmail.com for your chance to land on the cover of our magazine! That is pretty cool.
When submitting your photo, whether you are dancer, photographer or parent, you need to make sure you have all of the proper legal forms: model release, photographer’s release, and permission for distribution.

Finally, our first mini e-book will be coming out this summer!
THE GUIDE TO FIERCENESS: 10 STEPS TO BECOME A BETTER BALLET DANCER

—-

Currently watching:

April 3, 2015May 9, 2016

5 Ballet Techniques that make me melt

In today’s world of dance we applaud ridiculous extension, turns that never end, and jumps that defy gravity. Or, we celebrate mediocrity. Either way, it doesn’t do it for me. Don’t get me wrong, I love me some musicality, and artistic achievement but… I’m like a lover of technique. So, as much as I appreciate and glorify dancers of the past… It doesn’t really do much for me either. I recently was watching some video of Maria Tallchief in Allegro Brilliante and I was like -_____-. Like randomly placed passes, and some questionable releves from male dancers of the past… that doesn’t really do anything for me.

So, in today’s world of ridiculousness technique… There are five techniques that if done well, make me melt… Like I get all warm inside, and if it is on youtube I rewind it and watch it again… SOOO, what are they?

1. The technically crisp soutenu.

2. A two butts up glissade.

3. A super generous, and resistant pas de cheval.

4. A Balanchine saute arabesque, jete combo.

5. When a dancer bevels or wings their supporting foot right before they come down from releve, or when they place themselves on the wing of pointe shoe for a balance.

March 10, 2015

A Ballet Education…

A Ballet Education

I haven’t posted in a month because I have been extremely busy, and sooner or later you might all find out that I am actually trying to syndicate or sell this blog. I have actually had a few people approach me in purchasing it from me, and so I just wanted to put it out there for the world now… And well, it is tempting. Lately, I haven’t been able to sit down and really devote anytime to the blog, nor have I been inspired, especially since ballet companies are literally folding left and right.. So officially, A Ballet Education is on hiatus and for sale. Please contact aballeteducation@gmail.com for inquiries. (Asking price min: $11,000)

The Domain: http://www.aBalletEducation.com is valued at $718.00, hosted at WordPress

Domain Age: 7 Months

Alexa Rank: 2,614,919

Content Appraisal: $7,300

Social Media Appraisal: $220

Logo&Design: $650

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…

February 13, 2015

Ballet in the age of Technology…

Happy Valentine’s Day. Here are some of the stunning videos of dancers embracing the evolution of ballet. It is no surprise with IG, and other video apps, that ballet is becoming more and more embraced. Dancers are now collaborating with world renowned videographers, or taking to their own projects to bring a more precise, more intimate, more intricate look at movement. Below are some stunning videos that demonstrate the power of multiple art forms coming together.

Sergei Polunin“Take me to Church” by Hozier, Directed by David LaChapelle

Guillaume Côté, Composer: James LaValle, Director: Ben Shirinian

Dores Andre and Frances Chung, Directed by Quinn B

A haunting take on jealousy, this existential contemporary dance film thriller posits a man (Royal Swedish Ballet/Cullberg Ballet alumnus) Giovanni Bucchieri, a woman (New York City Ballet Principal Wendy Whelan), and an elusive lover (Pontus Lidberg) in a series of intense pas de deux in a stark apartment that becomes a fourth character. Danced to a commissioned score by Pulitzer Prize and Grammy winning composer David Lang with solo cello by Maya Beiser.

Sasha De Sola & Steven Morse. Choreography by – Myles Thatcher.

The Australian Ballet (BTW, they have thee best PR videos, ever… They beat NYCB hands down)

Matthew Bourne has released several shorts which are beyond brilliant…

January 7, 2015

It”s a New Year…

Hello readers! Wishing you the best this new year!

For those of you who are students, best of luck with your summer program auditions. And for those of you who are dancers, merde for the spring season. And, for those of you who simply enjoy ballet and this blog, I hope this year brings everything you have wanted.

Where to begin… where to begin… Let’s see… Today is the one year anniversary of my dad’s passing, so I have had a lot of time to reflect. The kind of reflection that should happen more often, but life sometimes gets in the way. Recently, I was looking at my itinerary for the upcoming fashion calendar and I realized that I don’t want to be in fashion much longer. Don’t get me wrong… The perks are great, the traveling is amazing, and you are surrounded by the most beautiful of things… But, as I was sitting there reading, I realized that I would rather be working in ballet. So, this is the year I am dedicating to transition out of fashion and back into ballet, specifically public relations, marketing, communication and sales… I have put out a few resumés, so we shall see.

So, enough about me… There are some exciting things going on in the dance world right now. The first is that two principal male prodigies have started to steer the course of ballet into a new direction. The first is Daniil Simkin, the Vienna prodigy at American Ballet Theatre with his project: Intensio. This project combines high caliber ballet dancers, with headlining reputations and innovative digital media. (click here to read more) The second of the men is Jeffrey Cirio, a principal dancer with Boston Ballet. The Cirio Collective is spearheaded by this young prodigy, and basically is creating space for dancers to take movement into their own hands. Their first season premier this summer. Dancers really don’t get to explore much on their own as they have the Artistic Director’s vision to carry out… This new collective I hope will eventually grow, and will become an innovative contemporary company based out of Boston. (Click here, and like their page on Facebook).

Principal dancers around the world though seem to be creating their own spaces. They are creating their own galas, realizing that their social media presence, and name alone can sell out a theatre. Roberto Bolle, Diana Vishneva are prime examples… I wouldn’t be surprised if Maria Kotchekova soon heads her own project. Former NYCB soloist Kathryn Morgan has joined Dance Spirit Magazine as a featured writer/editor. Her youtube and wordpress basically exploded last year, and has landed her a spot in publishing. (I am actually surprised this didn’t happen sooner.) Dance Magazine named their 25 to watch… If you didn’t know what this list was… It basically selects dancers and choreographers from around the world, and basically dubs careers to fame… Hee Seo, Leta Biasucci and others have graced the list.

Other fun new things this year? Paris Opera Ballet under Benjamin Millepied basically has given us access to behind the scenes of Paris Opera Ballet like never before… Thank you social media.

On the downside, this year is going to be echoed with retirements… But as we are saddened to see such artists take leave, don’t fret because a new generation of ballet dancers are coming into their own and they soon will be the names everyone is talking about, if people aren’t already talking about it… So here are some predictions for 2015… Hope they come true *fingers crossed*

Misty Copeland gets promoted to Principal at American Ballet Theatre.. Seriously, I think everyone is done waiting.

NYCB’s: Lauren Lovette and Savannah Lowery make exceptional debuts and are brought to rank of principal. (I don’t know who they will knock out of the principal role, but with Wendy retired… money has to be available right?)

Justin Peck makes an even larger contribution to the world of ballet… Seriously… He is probably the one we are all watching the closest right now, especially after he premiers in the documentary about his work…

oh, and David King, takes on the world of ballet in a greater capacity than this blog. Haha.

December 24, 2014

How to get through a summer program audition…

So, what is the secret to getting through a summer program audition?

easy answer: be good.

If you are thinking, “WTF?” Then you probably aren’t ready for a summer program. Sorry not sorry? Just kidding. But, on a more serious note, you do have to be technically sound for your age. As directors leading auditions, they do take in to consideration: body type, technical ability, work ethic, musicality which unfortunately out weighs potential and love of ballet.

So, if you are ready to audition for a summer program here are some tips:

1. Make sure you do exactly what they ask with port de bras. This includes the preparation. Just because at your school they do a different one, and it is probably engrained into your body, it doesn’t matter. You have to do exactly what they ask. Listen to key words while the teacher is giving the combination; like accent, slice, long, expand. These are qualities, subtle nuances and tips they are basically feeding you. This is what they are looking for.

2. Your audition class is not a warm up. Make sure you get there early enough to stretch, warm up, and basically do a little barre work prior to the audition. Yes, as barre during training is used to warm up and get on your leg… Audition classes are far from that. And as much as people say to just try your best, and relax, the pressure is immense. When auditions say this is just another class, they are basically lying to you because this class will determine whether or not you get in, and get a scholarship…

3. Presentation is everything. I am not talking about port de bras. I’m not talking about musicality, I am talking about what you are wearing. Find a leotard that is super flattering, make sure your tights don’t have holes, and clean up your ballet shoes. Make sure your hair is performance quality, and a little make up wouldn’t hurt either.

4. Don’t over do it. Don’t be one of this kids in the audition who “feels” the music, and is giving us swan lake realness, or Giselle drama in class… This is dancing, not acting. There is nothing worse than an affected dancer. Directors want to see clean technique so they can mold you into what they want. You have to be pliable both physically, mentally and musically.

5. Don’t starve yourself before an audition. It doesn’t help you. Make sure the night before, or the morning before you get enough protein, and prior to the class make sure you have taken enough carbs in to get you through the class at 110%.

6. Try not to compare yourself. I mean, everyone sizes up the competition in the room, but just because she has leg up during warm up, doesn’t mean she has clean technique. Or if you see a girl obsessively stretching her feet, when she has beautiful feet, she might just only have… Beautiful feet. And definitely ignore the girl wearing the white leotard when the audition clearly asked for black leotard.

7. The most important thing in an audition is to become unforgettable. In a good way. You want to make a great impression on whoever is judging the class. For example, if they give you a correction, don’t just stand there and nod, actually do the correction a few times to show you are getting it into your body. My thing was always in plies, to look supper effortless, and that moment right before you grand plie, looking the director right in the eyes slightly smiling. Tendus, well I don’t have Alessandra Ferri feet, so I would just try to do exactly what they asked. Whether it be over articulation of the foot, precise accents, over crossed, lifting to come in, the list goes on, but basically trying to do exactly what they were looking for. Then I would try to make an impression during frappes but being super precise and trying to leave the “strike” out there as long as possible. Tendus at center was another chance to make an impression because you can be super musical and elongated. Adagio was always a plus for me as a boy since leg up was easier than turning. Pirouettes I would stick to a clean triple. Definitely was not one of the boys cranking out a million turns. Then petit allegro would be another chance for me to make an impression by being super exact, hitting tight fifths every time, and then beating absurdly. Grand allegro was not my thing either, so I tried my best, and double tours, well, needless to say I would try to make them as clean as possible.

December 15, 2014December 15, 2014

Sugar Plums Fairies: The Women of NYCB

With Nutcracker in a frenzy and taking up my Facebook feed, I am always surprised by the wondrous NYCB, headed by Peter Martins. Don’t get me wrong, I don’t agree with everything Artistic Directors do, but Peter, if I can call him that, or Petie would be better, does a pretty good job at making dancers mature. While other people are against putting such young dancers on the stage, NYCB has a record of it. And because of that, we are able to watch dances mature and watch the entire span of a career. As we recently said goodbye to Wendy Whelan, we are left with a roster of principal women who are beyond stunning. So, as they are dying in a million shows of Nutcracker here is my ode to the current women of NYCB, and then some. (All of them in the same role…)

While Ashley Bouder hails as a CPYB alumna and has had praise for a bazillion different things, I think the thing I admire most, is she doesn’t fit the typical NYCB body type. In fact, if you look at the principal women of NYCB, they couldn’t be more different. But Ashley Bouder is like an American muscle car. Shiny, fast, flashy, and sleek. While she is short, and muscular and has usually been cast in power house roles, as she has matured she has developed into this soft leaf floating in the wind… Her in Emeralds was like … well, amazeballs.

Then there is another CPYB alumna, Abi Stafford, who is like the epitome of technical perfection. With her extended lines, her perfect positions, I think she is like the textbook for turnout and lines.

Tiler Peck, has become like America’s Ballerina. She is jazzy, fun, free spirited, but most of all relentless when tackling a role. While she sometimes irritates me with her facial expressions, she is the most fun to watch of the women of NYCB. She brings this light hearted energy that is quite charming. And I think as her career has progressed, she is the most changed dancer. From when she started, at SAB and we all got the welcome to SAB dvd with her on it… I mean come on… what a change!

Teresa Reichlen, is long, and leggy. Compared to Maria Kowroski, she uniquely stands out on her own. Watching her on stage is timeless. I feel like when people refer to our generation of American Ballet dancers she will be one to remember. Though it is sad because I think Kaitlyn Gilliland could have been a lot like her at NYCB.

Sara Mearns is a beast. I’m like is there anything she can’t do? As she has changed over the past three years, I wonder if her dancing will evolve, or plateau. It is a scary thing watching careers like hers… They boom so fast, and then kind of plateau. I mean I think Ashley Bouder went through the same thing, and then reinvented her dancing. Since her injury, she is more cautious on stage, and definitely more careful, versus when we first saw her premier as this fearless beast.

Sterling Hyltin has had to grow on me… At first, I wasn’t a really big fan. And then I saw her in Romeo and Juliet, and if you took away the awful costuming, you realized that she is a superb actress, which sometimes Balanchine ballerinas lack. Then I saw her as Sugar Plum in middle of no where Michigan while visiting a friend and that was pretty much off the chain. She is charming and dazzling, and I really like the way she uses her knees. Not just her plie, but the way she uses her knees to punctuate extensions is really nice.

Krohn, is basically the ballet dancer fashion loves. She is everything a model is, uniquely beautiful, and everything a ballerina is: legs, feet, musicality. I have only seen her dance once in person and she wasn’t a principal… so I don’t have that much to say.

Megan Fairchild is like this ball of yarn that is kind of wound a little tight, but once she lets go and unravels it is like she becomes someone completely different. While a lot of the time I am not her biggest fan, she is definitely gorgeous on stage. Vulnerability is a good thing for primas an I think she is more of a, I have to take control kind of a dancer.

Jennie Somogyi is the darker side of ballet. There is something super mysterious about her dancing, fluid and deep. I do think as beautiful as she is a ballet dancer, contemporary definitely suits her better.

The girl can turn, the girl can balance, the girl has everything. I think though it is time for her to move into a classical company because she was kind of born to do full length ballets, like she is amazing in Kitri and in Esmerelda.

And then there was Maria Kowroski. As the longest leading lady at NYCB, she is everything. The feet, the flexibility, the musicality, the legs, the flexibility, the face, the dancing, the flexibility, the back, the knees that bend and are soft, those long fingers, the flexibility… haha, yes, I am obsessed with her flexibility, and growing up she was one of the women of NYCB I looked up to. Now, most have retired, and most of the principals at NYCB are my age. She will forever live on as Barbie, and she will be immortalized for her dark angel in Serenade, and because of Chaccone she will always be this little slice of heaven that was given to us.

Now… beware ladies as a new crop of women in the ranks of soloist are bound to become principals very soon: Lauren Lovette, Savannah, Lowery, Lauren King, and Ashley Laracey are all probably bound for stardom, but I do think CPYB alumna Alexa Maxwell is going to be one as well.

November 30, 2014

the nuttiness of nutcracker…

I have posted many posts about Nutcracker, but I am going to do a couple more before the season is over haha:

http://aballeteducation.com/2014/07/08/too-many-claras-and-every-little-girls-dream/

http://aballeteducation.com/2014/08/24/the-beast-that-is-the-nutcracker/

http://aballeteducation.com/2014/09/16/awful-realities-of-the-nutcracker/

While the Nutcracker is a holiday tradition, for dancers it might just be the ballet that pushes them over the edge. For dancers in smaller companies, Nutcracker season means longer rehearsals, and being over used. On any given night, a female corps dancer might go through 3 costumes changes. Unfortunately, there really isn’t any room to complain, because Nutcracker pays the bills. For stage managers and lighting designers, Nutcracker basically runs itself. And for those in PR and Marketing, Nutcracker sells tickets on its own… unless you are pnb whose ticket sales are down, hence why they are ditching the Stowell/Sendak version and going Balanchine.

5 Nutty Things that happen in productions of the Nutcracker:

Have you ever noticed in the Balanchine Version, that music from the Sleeping Beauty is used between party and battle scene? Or the opening score of Snow is wasted on a moving bed? If you didn’t know how that happens… usually there is someone underneath crawling and spinning it around… Awkward I know. Casting sheet:

Bed: Your name.

The corps is like a well oiled machine… The corps has so many parts to dance during Nutcracker… and the fun part? They usually don’t dance the same spot twice. These girls go from party scene, to snow without being warmed up, and then dance in flowers. Usually the casting board has the act, scene, and roles, but for the corps it might go by numbers and one night you might be dancing girl one, and the next night you might be dancing girl eight. I guess it gives you some variety…
Sugar Plum pas de deux might just be one of the longest pas de deuxs out there. The variation is ridiculously long, etc.
Have you ever noticed that Clara and the Nutcracker in the Royal Ballet’s version must have to chug a redbull before their performance. They dance in like every variation and flowers…
Finally, sometimes I watch productions of nutcracker and I am like wtf is this… random ugly costumes… non cohesive storylines… over rehearsed tired dancers… or my favorite… bringing in guest artists for the leads from major companies, because no one in your company can fill the role… or you would rather have a “name” for the sake of selling tickets.

October 19, 2014January 30, 2016

Manly Ballet… 5 misconceptions about male ballet dancers

Male ballet dancers get the worst reputation… And there is a reason why…

Honestly, it comes down to tights and a dance belt and for some reason that equates to effeminate, which equates to gay. But, if you look at the spectrum of dance, ballet is probably the most manly when it comes to repertory, with the exception of Dresden SemperOpera’s version of bluebird… That one is just… well… flashy… (click here to watch the youtube video)

The roles for men in classical ballet are the following: prince, cavalier, slave, pirate, prince, cavalier, lover, prince… you get the gist. Because of these roles, the vocabulary is limited, say compared to a jazz dancer. Now, because the way the music was written, and male variations are these extremely heavy, weighted variations, the steps a male ballet dancer usually performs are… well limiting. While women are known for their pointe shoes and flexibility, male ballet dancers really only do the following (via my doodles):

So, because I have only posted twice this month (it is LA FASHION WEEK, and fashion month so my real job has been taking up a ridiculous amount of time… okay, and also it happens to be my best friends’ birthdays… so I have been traveling and such)..

Here is my 5 misconceptions about male ballet dancers:

1. Male ballet dancers are weak and frail like girls…

mmmm... Alexandre Hammoudi photographed by NYC DANCE PROJECT... he is my baby daddy.... — mmmm… Alexandre Hammoudi photographed by NYC DANCE PROJECT… he is my baby daddy…. (okay that was gay.) Ken Browar & Deborah Ory for NYC Dance Project.

2. Male ballet dancers prance around all day… actually bro, we lift too.

Actually bro, they lift too. They usually are lifting all day.

3. All male ballet dancers are gay…

nyt wedding ballet dancer tiler peck — Actually, we marry hot ballet girls. Tiler Peck and Robbie Fairchild, via the NYT VOWS sections. Both are principals at NYCB

4. Boys in ballet just want to be girls…

Actually, quite the opposite. No male in ballet aspires to be a girl. In fact, unless you are going to join Trock… you will never dance a girl role. Again, you really aspire to be a prince. I mean that is really the only role you can aspire too… I don’t think any boy saw Drosselmeyer and was like when I grow up I want to be that crazy loon. Do I think that boys see professional men jumping and turning, and lifting girls… yes. Do they become intoxicated by the beauty, maybe.

5. Men in ballet are not athletic.

While skateboarders do 720s using momentum v-force… men in ballet do it from a static position.

While track athletes jump hurdles that stand at 42″, ballet dancers are clearing more air while looking relaxed. (Granted track athletes are on a time constraint.)

While football boasts the manliest sport, they are still basically wearing tights…

While wrestlers are wearing less than ballet dancers and touching each other, very rarely do two men ever even touch in ballet.

While soccer players are drilling for foot speed, ballet dancers are are drilling for foot speed at a faster pace, and in exact positions.

While regular guys are at the gym lifting and taking selfies, male ballet dancers are lifting women for 8 hours without straining their necks, and making ugly faces and grunting.

While hockey players are gliding down the ice, well… that is just a hard one to find a comparison.

While baseball players are coordinating catches, male ballet dancers are coordinating catching women.

And finally, while joe schmo is sitting eating a pizza and drinking a beer… well,

male ballet dancers are probably doing the same thing… unless they are about to do a ballet in white tights.

—

October 6, 2014

Ballet Sentences…

a good laugh to pass around…