Darcey Bussell dazzles in elegant Audrey Hepburn documentary – and gets Twitter in a spin – Mirror Online


Darcey Bussell dazzles in elegant Audrey Hepburn documentary – and gets Twitter in a spin

Dec 30, 2014 11:47

By Kara O’Neill

The Strictly Come Dancing judge proved to be a hit as she delved into the glamorous actress’s life and the secrets of her past.

Darcey Bussell is already a firm favourite on primetime telly, and her latest venture in the land of showbiz has made her even more popular.

The former ballerina, who is also known as a Strictly Come Dancing judge, was a hit on Monday night with her documentary Looking For Audrey.

Delving into the past of glamorous film star Audrey Hepburn, Darcey stepped back in time to uncover the truth about the actress behind the glitz of a Hollywood smokescreen.

Paying visits to locations all around the globe that played an important part of Audrey’s life and career, Darcey discovered how she started as a dancer, risked her life in the war, and was often a lonely individual looking for true love.

But while Audrey’s past swept enthralled viewers along quite nicely, it seems that Darcey’s softly softly presenting style and her clear passion for her idol really shone through.

Twitter users were suitably impressed with her performance with one writing: “Brilliant, Darcey. Do more. You both sparkled!”

This could be just the beginning for Darcey, who also made her name as a dancer.

The 45-year-old trained at the Royal Ballet School before going on to have a long career in The Royal Ballet.

She is most widely know now as a judge on BBC One show Strictly Come Dancing, when she joined the panel in 2012.

Speaking to the Telegraph about her idol, Darcey admitted she had been obsessed with Audrey and her life from a very young age.

“She has inspired and intrigued me since I was about 10.

“She was always very real, one of those natural stars who never tried to be anything other than who she was. It’s hard to stay true to yourself and it’s rare, especially today.”

*Catch up on Darcey Bussell’s Looking For Audrey on BBC iPlayer

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Patricia McBride-Still Living the Dancer’s Dream (Protege of George Balanchine)


Patricia McBride lived a dancer’s dream: Her mentor was George Balanchine

2   Patricia McBride and George Balanchine

Patricia McBride rehearsing with choreographer George Balanchine.

This was normal for McBride, then the New York City Ballet’s principal dancer (now the associate artistic director at the Charlotte Ballet), but working with Balanchine would have been a dream come true for aspiring ballerinas around the world.

He is known as an artistic genius in the ballet world. A gifted choreographer responsible for changing the face of dance and famous for the New York City Ballet’s ” Coppélia” and “The Nutcracker.” And this man personally invited McBride to join his company when she was just 16 years old.

Balanchine and McBride would work alone in a studio, not speaking much. Balanchine would cue the music and dance in front of McBride. A pianist himself, musicality was of the utmost importance to Balanchine. He wanted the dances to flow naturally, so he let the music do the speaking. McBride followed along behind him, learning the steps. Forty-five minutes later, McBride would have a new solo in her repertoire.

“He worked so quickly and he didn’t have to experiment with you. He knew exactly what you could do,” McBride said in a phone interview. “Once something was made to you, you had to remember it forever. You were the guardian of the choreography.”

Balanchine trained McBride for a 30-year career with the New York City Ballet. She danced over 100 ballets in that time, including 30 choreographed just for her. When she performed her final ballet in 1989, McBride was showered with 13,000 roses and a standing ovation.

But McBride did not leave dance behind. She went on to teach at Indiana University and then took over the Charlotte Ballet in North Carolina with her husband and dance partner, Jean-Pierre Bonnefoux in 1998. She’s now 72 and still teaches eight ballet classes at a time, on top of running rehearsals for performances like The Nutcracker.

This lifelong dedication to dance has been noticed by the outside world, too.

Earlier this month, McBride walked down a red carpet in Washington, D.C., to be honored for her commitment to the performing arts. She mingled with Tom Hanks and Sting, had dinner with John Kerry and met the Obamas. She was given a rainbow-colored Kennedy Center Honors ribbon and listened to actress Christine Baranski praise her accomplishments.

It was a celebratory weekend all about honoring the ballerina (among other honorees), but McBride was quick to thank others in our interview. Especially Balanchine, her mentor.

Theirs was an intimate setting to work in, but Balanchine was more than a teacher to McBride. She looked up to him as a role model and desperately wanted to please him. McBride‘s own father left her family when she was just 3 years old, so Balanchine stepped in to fill that role.

“I grew up without a father so he was everything to me — the man I most admired and just the most wonderful role model anyone could have,” McBride said.

And their relationship was not lost on the outside world.

“A true muse for George Balanchine, he created many ballets especially for her,” said Larry Attaway, executive director of ballet at Butler University. “She was one of the most remarkable ballerinas of the 20th century.”

McBride still remembers leaping for joy when Balanchine invited her to join the New York City Ballet Company all those years ago — and did not hesitate to give up a normal teenage life for one of endless rehearsals, travel and intense dedication.

Balanchine took McBride under his wing and trained her to dance his ballets, many of which are still performed around the world today. She traveled to Tokyo, Italy, Germany, London, Paris, South America and Russia to dance, including five performances for U.S. presidents. Leading roles in her repertoire include the Sugarplum Fairy in “The Nutcracker” and Colombine in ”Harlequinade.”

“I cherish the ballets made for myself by Mr. Balanchine,” McBride said in a phone interview. “He never lost his temper. He was quiet, humble, the genius of the 20th century. He changed the face of what dance is today.”

Balanchine was her teacher, her mentor and inspiration during her long-lived dancing career. He pushed her and drove her to perform at the highest possible level, but he was also kind and patient — a notable trait in the perfectionism-driven world of ballet.

“In the beginning, he taught you how to hold your fingers, use your head, hold your shoulders, how you glissade, bourre — the exact way he wanted you to do the steps,” McBride said. “It was relearning the whole Balanchine technique.”

He was not a man of many words, but when he did offer praise, it stayed with McBride for years to come.

“After performances he would say, ‘Good, good.’ He never really gave a harsh word. I don’t ever remember him saying, ‘That was awful,’ ever. He didn’t praise that much, but when he did, it was wonderful. He would say, ‘I loved how you used your eyes, you were mysterious.’ It would make you feel like a million dollars.”

Balanchine passed away in 1983, but McBride carries on his legacy by teaching her students his ballets with patience and kindness. She gives her students at the Charlotte Ballet Academy praise and talks highly of her “beautiful dancers.” She believes in nurturing her students and making them feel secure in themselves.

“Mr. Balanchine wanted me to be myself. He didn’t want me to look like anyone else,” McBride said. “I love teaching our company dancers the Balanchine ballets. I try to give them what was passed down to me and what I learned from him. They dance it so beautifully. It also keeps me close to Mr. Balanchine. He’s with me every single day.”

Repetto Suppliers U.S. 2015


Repetto Paris Store Window Holiday theme. La!
Repetto Paris Store Window Holiday theme. La!

Hello Mysylph readers and Repetto aficionados!

It’s a new year 2016 and there is some wonderful news stateside about Repetto-they have seen the light and opened a flagship store in Manhattan at 400 West Broadway in Soho. It is not some tiny little store, but an homage to the paris Repetto store in every conceivable light. Please stay tuned for more information regarding this store (I will try to keep you up to date on sales, events, etc). In the meantime, please see their website for more information on the U.S. location. I will be publishing an updated post on their store, selection and other info as it becomes available. Currently they are overstocked. A pair of pointe shoes with ribbons, and a pair of leather flats came to just $124. Persistence pays off….

[Welcome to the new updated list of US Repetto Suppliers for 2015! Sadly, many of the previous year’s suppliers have gone off Repetto, but several have also been added. It seems there is some activity with regard to promoting new accounts, or there has been an increased demand for the shoes (which I have heard) and I hope in some small way we are a part of that evolution.]

We have since switched to Grishko’s due to their availability, however-not because we do not LOVE Repettoes, but because when we have the Repettoes custom made we have to buy five pairs and this is often too expensive for me, and when we need additional pairs we got off track. We have no where near us to buy them currently and no one is usually able to fit properly when we do find them. I am planning a trip to the actual Repetto store for this purpose (some day). Hopefully, I will bring back things for you all and I will post them up for sale on this website (if I do). Little baubles, especially tutus……:)

Repetto’s distributor in New York has a storefront and they were very snooty when my daughter went in, while she was in school in New York. I think somehow I got charged twice for the same pair of shoes, too. Nevertheless, she still loves the shoes. They are solely a distributor and have in all, been very accommodating to us, on a whole. Additionally, some of these people have been replaced. The current contact is more helpful than some others in the past, but has completely no information about our previous custom order (they have no problem finding the bills and credit card payments though, usually). Not this time.

This underlines the need for Repetto to improve their stateside operations which are virtually nonexistent. That is probably why this list is so important, because it is these fine stores (listed below) which act as a go-between for you, so that you may have the best experience possible and enjoy your new Repetto items without constraint or reprisal. Repetto still has an almost iron-clad no return policy, especially on pointe shoes.

Some may wonder why I continue to post the list if I have these grievances with Repetto, and that is simply because the shoe, once obtained is one of the most incredible shoes on the planet (I love Repetto pointe shoes). Also, their other products are very well-made and beautiful, too; if you can get them. I would probably recommend wearing Repetto EVERYTHING if I could get them~ The only issue I have with their ballet product line is that their ballet bags are rather small, so if you buy one (as a keepsake) remember this and do not expect the cavernous yaw that American ballet dancers are used to.

Last year, about this time, I was informed by my rep at Repetto, who was very nice, that they were excited to tell me that in the new year (this past year) they would be receiving additional ballet items stateside, and planned a launch in January of 2014. Subsequently, as we no longer had contact with them after March 2014, I gave up hope as I heard nothing more about this.

However, in 2014, Repetto FR opened many retail boutiques all over Europe, and in most other countries you visit, but their main focus is on the ready-to-wear items. Opening Ceremony had for a limited time, as part of a display, romantic length tutus, which sold out astronomically quickly, and no more were planned to be ordered (I checked).

I do plan to renew my pestering of Repetto, when I have time to do so, in an effort to make more of their products available here, but so far my past complaints have not proved very helpful. I am just one voice. So, when you get the chance, you should also write to Repetto (in FRANCE) and complain, per your own motives. I do think a lot of voices are effective. Eventually.

Please contact these suppliers for your needs. Most of them are very willing to go to war for you-otherwise they would not deal with Repetto at all-so you must assume they LOVE their products (and their customers) very much, too! I do not envy them their positions, but I admire them…..Keep on Dancing!

Per the usual, please post comments or info and I will be glad to pass it on.

After Post Comment- Do not become overly excited about the numerous Discount Dance entries. Two of these may not be actual stores or may have a reason they are on the list at all, i.e., Repetto is confused about their warehouse operation versus their store, i.e. Repetto posts mailing addresses. The Anaheim store does not carry Repetto at all, only the Gamba, and this is the same through the catalogue. Their policy is to order for you, but that would require a fitting….and some knowledge of the product, which to date they have not obtained-

New York City Flagship Store

400 West Broadway

New York, NY

Telephone: (917) 999-0501

Hours: M-Sa 11:00-7:00
Sunday 12:00-6:00

Google Map Directions: http://bit.ly/1JIuctr
Website location information http://www.repetto.com/en/boutiques/united_states/new_york
 

DISCOUNT DANCE SUPPLY

1501 N.Raymond Ave, E

Anaheim CA  92801

714-970-0462

 

DANCE

225 E College Avenue

Appleton WI  54911

M-F 10-6

Sa 10-4

920-749-0305

 

BACKBAY DANCEWEAR

185 Cambridge St

Burlington MA  01803

781-273-3089

online catalogue available-check sizes in stock before ordering

 

CHICAGO DANCE SUPPLY

5301 N. Clark St. Fl.2

Chicago IL  60640

773-728-5344 (Karen/Bryan)

3/4 and full

batches 97 and 93 currently

*Had the G11 in stock in my size, but 2 WEEK RESUPPLY WOULD BE APPLICABLE FOR NEW ORDERs*

DIANA’S DANCEWEAR

8958 Blue Ash Road

Cincinnati OH  45242

513-792-0970

 

SYLVIA’S POINTE SHOES

101 North Main Street, Suite 16D

Crystal Lake IL  60014

By Appointment

815-477-8450

Sylvia’s Pointe Shoes (actually a master fitter who wore Repetto’s for 20 years) beware the Gamba afficionado who sells Repettos-not the same at all, even though both are now made by Repetto. She was able to provide some information, but still claimed the shoes (letters) were not relevant. (False.)* If you are ever out that way, does a three hour fitting session, and she has good relationship with Repetto!

*[I have later discovered the reason for this issue-they are not supposed to matter. Repetto actually changed the lasts at the time of that writing, so the shoes were actually significantly different. A new fitting would be required as Repetto does not like to make custom orders.]

ALLEGRO DANCE BOUTIQUE

2114 Central Street

Evanston IL  60201

847- 733-8460

only sells Gamba

 

DISCOUNT DANCE SUPPLY

180 Welles St. Ste 500

Forty Fort PA  18704

no phone listed

 

CAROLINA DANCEWEAR

1627 New Gardner Rd

Greensboro NC  27410-2001

M-F 10-7

Sa 10-4

Closed Su

336-856-9983

 

DANCER’S CLOSET

253 E Pittsburgh St

Greensburg PA  15601

M-Th 10-8

F-Sa 10-5

Closed Sunday

724-832-1501

 

BEAM + BARRE

352 Greenwich Av

Greenwich CT  06830

No hours obtained

203-622-0591

Spoke-carries 205, 207, NOT La Carlotta

 

ENCORE DANCEWEAR

364 Old Country Road

Hicksville NY  11801

M-W, F 10-6

Tu, Th 10-7

Sa 10-5

Closed Sundays

516-712-2567

 

BOYS DANCE TOO LLC

248 York St, Floor 1

Jersey City NJ  07302

732-648-6757

 

THE DANCE STORE

2509 S Robertson Blvd

Los Angeles CA  90034

310-271-3664

 

CARMEL DANCEWEAR

3004 Cleary Avenue

Metairie LA  70002

504-457-0101

 

DANCE SHOP

517 Holcombe Ave

Mobile AL  36606

251-473-3623

 

DANCE BAG

2221 McHenry Ave, Suite G

Modesto CA  95350

209-571-0369

 

PAS DE DEUX

328 East 11th Street

NY NY  10003

Closed Sunday

212-966-0026

??????

 

THE LEOTARD

2432 NE MLK Blvd

Portland OR  97212

No hours obtained

503-284-9244

@ weeks order time

very good follow-up/willing, friendly

discount

DANCE WORKS

3228 N University Ave

Provo UT  84604

801-375-4622

 

SAN FRANCISCO DANCEWEAR

659 Mission Street

San Francisco CA  94102

415-882-7087

Most well stocked provisioner of Repetto Pointe Shoes I have encountered. The staff is very helpful, but not entirely anxious to accommodate special requests. The owner, however, is a gem. If one can obtain the correct point shoe here, they have no problem in supplying it. They are prompt, courteous and there is a discount program for which you may register. Their Oakland store does not supply Repettoes.The shipping was cheap and they arrived in normal mail time by UPS.

The only difficulty I faced was again with the distributor and the point shoe itself. They still claim, despite my proof, that the shoes are identical except for slight variations. They still claim the letter is a date and will not accede to the fact that the B’s fit my daughter and the other letters do not. We have also found that the I’s fit well enough. But the B is the perfect shoe, in the 11’s and the 12’s.

REPERTOIRE DANCE

65 Garth Road

Scarsdale NY  10582

914-722-2440

 

BARRY’S CAPEZIO

2240 N. Scottsdale Road

Scottsdale AZ  85257

480-946-3651

 

DISCOUNT DANCE SUPPLY

213 Scranton Carbondale Hwy

Scranton PA  18508

570-558-9042

 

CENTER STAGE LTD

5012 University Way NE

Seattle WA  98105-4342

M-W, F 10-5

Th 10-7

Sa 10-5

Sun 12-4

206-527-4697

 

LABRIE SHOES & DANCE

375 Putnam Pike, Suite 6

Smithfield RI  02917

401-232-2266

 

JAZZ RAGS DANCEWEAR

25701 North Fwy

Spring TX  77380

281-364-1600

 

DANZAR CORP

590 Market Street

St. Augustine FL  32095

904-473-7401

danzarcorp@gmail.com

www.danzar.com

Carries full line, though some items are provided in limited quantities. Full service boutique and some items are online only-They carry, as a rule, in point shoes: La Carlotta, Julietta and Bayadere, also demi-pointes, tights, technique socks, leotards, sweater wraps, ballet bags, etc. I spoke with Colleen and she seemed ready, willing and able to assist in locating or procuring items. They will drop ship-)

 

 

BEE’S COSTUME’S CREATION/BALLET TO BLADES

6025 N. Wayne Rd

Westland MI  48185

734-728-7596

 

LINES FOR THE BODY

2035 Essex Road

Williston VT  05495

802-878-8988

?????

Guide to Ballet Training, Part 1 (for novices)



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Part I

I think useful information on ballet schools is a bit hard to find on the Internet. Information about the process, what to do, expect, avoid. It’s not truthful when you do find it. You just jump in. But there is a process if your child wants a career in dance. There are many factors, but if you are starting out as we did, there are some things you should know, and if you ever need someone to talk to, you can always ask me what to do. I’ll try to help. That may not be the best recommendation, as I am certainly no expert-no one can be-but at least I am not politicking for anyone. Yes, my daughter is in ballet. I think this is her sixth year, maybe going on seven, I may have lost track.

According to my teachers eleven was a fine age to start then (9 or 10 being the youngest to begin seriously), but you are always hearing professional dancers (and non) stating they started nearer their birth. In my opinion, it is wrong for dancers to tell other dancers that, because they should know better. I think the Russian methodology is the best, for one thing, most of their dancers can concede to the age of around 10, because that is the earliest those schools take them and they begin, seriously, to study ballet. You have to wonder about the truth of other statements when the serious study of anything cannot begin much earlier, and certainly not ballet. They do say, and correctly, too, that they studied or took other dancing, gymnastics, etc., and this is probably true, but even they know it is not like ballet and is different. It might have helped them, but they do not feel the need to relate that usually because the training at those schools is so formidable as to put into the shadows any previous lesser instruction. There is really no comparison. Why? This will become apparent in a later section of the article.

I think there is a truly correct and comprehensive method to the study of ballet. I am always searching for that in schools, teachers, pictures, videos, performances. It is what you have to learn to look at first. I do not think my daughter would have known, starting out, what was good for her, and I am aggressive about what I desire and look for in any educational situation which affects my children. I have 3, and I went to my first audition, with my son, at SAB, about twenty-one years ago. He was not accepted, but continued to dance in Russian schools in NY until he was about 12 years old. He lost interest in it and the outside pressures of being a boy in ballet just became too much for him. He did learn some things about ballet, and sitting down to watch a ballet performance now, brings all of that back to him. He has always been a dancer, though, and never shies from performing. He is a ham. I have followed ballet for about 40 years.

I know how to go about looking, though I was not a professional dancer, I danced, and the choices were easier when I was growing up, and I was lucky to get good instruction. I had opportunities to dance professionally, but I finally realized in college that I did not want to become a dancer exclusively. In all ways, that decision is very personal to the dancer. Proper instruction, correct instruction is probably the most important piece of the ballet, or dancing, puzzle. I do not know how I was so lucky to have had the teachers I did, when I did, and where I did. Part of the reason this occurred, because although my mother did not accompany me at all, she had schooled me in the basics of ballet and dance knowledge, cautioning me extensively, prior to my going out and signing up for classes and because she bought me books, or gave them to me, and I read them. I was not averse to reading or listening. She also researched and made suggestions where I could go, and I went there and she turned out, and they turned out, to be right for me. After that, I found things on my own. It is cyclical. Things change in ballet schools sometimes as often as they do in public schools, and programs-one year it is good, the next, not so. It depends on who is teaching there at the time, the program, mission or philosophy, and some other factors. More variables affect parent and student over time, but initially, it should not be too difficult to find good training, despite the vast differences between schools. I think this constant “polishing” of the process, program, and elevator effect does not benefit every generation or level of dancers at the same school, for usually, in this country, in most cities and towns, there is nowhere to go for top ballet training you find. The problem is continuity, but it is also cost, change, greed, and outside influences. But when it gets to a point, you have to take it into your own hands and find what you are looking for-what your child needs.

You can go to the horse’s mouth in New York City, but what if you are not accepted at ABT or SAB? Well, because it is New York City, there are other good teachers and schools to go to. It is an international and cosmopolitan city and there is no dearth of dancers there.You can also find good ballet teachers in other places, but it is a crapshoot sometimes. You do not necessarily know. They can be in the strangest and most unlikely places, or they can be right around the corner-for the time being, anyway. That is why I look for Russian now. It is just so much easier. I do not have to look at French, American, or British systems, because my daughter now makes the decision on where she wants to study and what. As a parent, Russian just makes more sense, because Russia has a system of ballet training- the Vaganova method. It focuses on correct placement, the correct technique and levels, but most importantly, probably, to me, as a parent, it also is designed to reduce the possibility of injury in what is a very difficult art. I said art. Not sport. It is not athletic. It is discipline. It is part science of movement, part muscle training and part art, then mostly art.

Some parents do not always care about injury enough. Some parents do not realize the risk of injury. Some parents will not accept that their child might not have the facility required for the correct and plausible performance of ballet, or have children who have not had good training or training in time. Some parents were dancers and know exactly what to do! I think a lot of Russians have come to the U.S. and other places to teach ballet in the Vaganova style and for whatever reasons, it is a wonderful opportunity to learn ballet with them as they truly know more about it, are passionate about training, and knowledgeable. They have to start somewhere, and sometimes their options are not always the options extended to those teachers at the actual Vaganova schools where the children are handpicked, out of hundreds or thousands, for the opportunity to study ballet at a state funded school. Here, we bring our (often) faulty children, without any gymnastics, bad feet, poor attitude, inflexible backs or legs, poor posture, and even more frequently, our money, to ballet schools, without having had even a physical, or x-rays, to determine their capability for such a regimen, and demand them to make stars out of them. This is NOT how it is in Europe, and worse we bring our sense of  entitlement.

In America, it is about the students you get whose parents can afford (or not) ballet training, the mentality is different, and until recently, due to so much promotion, and competitions, such as YAGP, ballet was not in the headlines. Only by promoting it, has it become more popular, for boys and for girls, or considered a career option. Respectable. A sport (to make it acceptable to some Americans). And a sense of it being far less demanding, complicated and fickle, than it really is. In America, until people become more aware of its difficult requirements, many people will continue to frown upon it, as they are basically uncultured and working-class people, who have considered for several decades, ballet as a starving art form, or dance as being “gay,” or not an intellectual pursuit, nor as having the prospect of wealth. In some cases, it is a middle class parent who aspires to have their child succeed as a team dancer, or competition dancer, who enrolls their child in ballet, gymnastics, and theatre, modelling, etc., and for ballet, this focus is not correct. It is not a good formula, not one based on knowledge of the art of ballet, what is required, the prospects, but only the early physical success and a trophy as proof. A ballet dancer’s career spans a lot longer time than most professional athletes, actually, and unlike sports, but as in theatre, maturity is required, and artistry. Artistry is not acquired in early stages of youth, such as the understanding of the emotions and stories involved in some mature ballets, or the sense of freedom required, by many years of practice, to express oneself uniquely in performance of mature subject matter, and to do so fluidly. It is this part of ballet, I believe, where most dancers with physical potential actually fail in ballet. They are not artists and perhaps never will be.

Ballet is competitive, but first it is discipline. As it was designed, it was discipline for the longest time and then possibly, much later, some success might be possible. Maybe. It is easy to forget, in the little ballet studio, that there are a world of other dancers out there, and that they might have several distinct advantages over Americans, in general. Training is number one. Ballet, of course, had its starting point, too, like all dancers, but then a Golden Age (occurring almost 200 years later), and more structure (another 100 years), then becoming almost scientific (50 years), and again a resurgence (50 years), again (20 years) and again now (20 years). There is a phenomenal (and interesting) history to the art of ballet, but it was never Shun Yen, or gymnastics, or jazz, or a sport- at anytime in its development. It never should be or will be really viewed as an art and a sport, or it will truly cease to be ballet. The movement to even discuss this is one to capitalize on the financial opportunities and promotion of it as a commodity and everyone seems to getting into that game, but the step to make it an Olympic sport, like discus throwing is absurd.  This might improve everyone’s physical health, increase advertising demand, create paycaps for “artists” or make it acceptable overall to men, and others, but it will do absolutely nothing for the art of ballet. Ballet like that is without art. It is without stories, music, entrepreneurs, shows,E and in that arena, no true art is possible. Just gladiators and lions.

Everybody dances (if you go to New York), but in many places in between the coastal cities, the only dancing done is at weddings or a folk ensemble at school, or not at all, depending on your sex, religion, persuasion and coolness factor. It was not until I went to New York, in college, that I had occasion to go to clubs in the city where all the men (almost) got up and danced. Where I grew up, all of the above applied. The only professional or aspiring dancers you saw were in local companies or at weddings. It was a physical impairment of men, that they “could not dance,” would claim they “had no rhythm,” and no one made an effort to persuade them. NO one challenged any of these false hoods. Even now, it is extreme to label a child as “trans” when it is normal to go through questions of individual sexuality. Dancing has nothing to do with that, except it is still seen, in the US, and other places, to be largely “feminine” to express oneself, and there is still a morbid (private) fear, in this country at least, to be considered feminine, or unmanly, in any regard, with young men. So ballet will probably always suffer due to the few boys who manage to find their way into it. It is no less athletic for girls, but in ballet, boys can excel more obviously in many areas where other boys, outside of ballet, just do not and cannot ever hope to reap the benefits from. So in one sense, I see a practicality of noting that ballet is the most athletic, and totally physically demanding of any physical activity they can do, in a sense. Only to encourage boys to try it because there are a lot of really bad male dancers out there, and people are always saying they are “really good” and they are not, and I think this leads to resentment by some females, who are, much better, really, and have to work much harder to get noticed. They have to be perfect, but a boy can definitely “have a career” if he is mediocre. A girl has to be beyond perfect.

In my time, or slightly before it, one dancer, Jaques D’Amboise, made the attempt, and temporarily succeeded, in making ballet a course option in New York City public schools, but that was not successful, unfortunately. He started a foundation, however, to educate inner-city (and all) children and their parents, the public, and everyone else, about how positively dance had helped him off the streets, gave him options to pursue a career in ballet, and the theatre, and how he learned to dance. He has tried, chiefly, all of his life, to share that information and knowledge about dance, and he has been somewhat successful in spreading the word, but mostly he has been successful at providing an afterschool environment that gives children the chance to try dance and to see if they like it. That’s all you can do. If they are successful, he helps them pursue it further. Lost momentum. NO. It was the beginning of change, which takes time. He is correct in all that he says about dance, and for this reason, if no other, dance should be available to study to anyone who wants to pursue it, free of charge, just like sports in most schools, but it is not.

In most countries, there is the respect for ballet that there is in Russia, and not just ballet, but arts. There is great funding to the arts in other countries, but as in so many other ways, we are behind in many of these areas. They are just more cultured and differently structured. Most foreign countries at were once aristocratic political systems. As such, the monarchies investiture in the arts, or their countries people, was to educate and make available to them entertainment, education and culture that otherwise they would not have the ability to underwrite-in fact his was one of the very large platforms of government, besides, security. It is a matter now of patriotism and history, especially as it relates to countries which had a formidable part in the creation or perpetuation of ballet. it is part of their iconoclasty-they cannot give it up, or be seen to, as people then say, “Why do we continue to have a monarchy?” And there is also a gradual uncovering of that, or change, such as in Russia, where the ballet has increasingly, or at least more purposefully, taken the backing of the highest bidder. But as a result of it having being made available to everyone, at least in the past, or the effort to continue its conference, everyone there at least understands its importance, artistic significance, or has some underlying understanding of it and accepts it, etc…and many more people pursue culture, are actually cultured, attend shows and are involved in the making of art on many different levels, not for the money, but for the art. It is seen as part of a good education, education at all and is underwritten or subsidized. It is getting increasingly harder for those countries to even afford to keep ballet companies together in this economy.

In this country, frequently, it is the private contributions which make the performance of it or viewing of it possible to people without a lot of money, and it is nearly always a political nightmare to get funding or to make new art. The states do not support artists, art or the training up of artists. I think one of the reasons we have government is to decide what is good for everyone and necessary and if art is not, then very little else matters. Art is like the hyacinth for the soul. All work and no play makes Jack a dull boy and philistines. How can the parents of these people know where to take their child for ballet, when in today’s culture, what they want is a cheap afterschool program for its babysitting possibilities. It does not mean that if the child is exposed to dance, somehow, that they will not become enamored with it. Most likely they would respond to some form of art, and along with humanities, reading, other forms of culture, such as the making of other kinds of art, this exposure cause us to search within ourselves for deeper feelings and emotions, answers and humanity. These are requirements for people, and in art, all of the shared commonalities of people exist. It is a higher plane of functioning, not on an intellectual level, but on an emotional and expressive one. That is why, in our country, these independently run ballet schools are so very important. All together, whether they act accordingly, they are responsible for the education of our children, edifying them about the importance of art in society and life. They do a big part of the job with no subsidies, no review boards, networks, administration, doctors, child psychologists, theatres, funding or even newspapers or promotion. With no one willing to champion them. Some of them are frauds, some of them provide healthful physical activity and a needed outlet in a community, and some of them provide a basis from which to pursue art, but we cannot make those schools Sports Authorities in an effort to create a funding tunnel, because in the history of ballet, when the technique and art suffers, the ballet loses historical importance, great artists, and attendees. People come to expect more in viewing ballet-more acrobatics, more violence, more intensity, more stimuli, and this is not art.

But most of all, you take your daughters or sons to ballet to learn character, discipline, and whether you know it or not, etiquette, respect, music, following directions, beauty, grace, strength, work ethic, survival, and working as a group. Many of the same things you learn in karate or sports, school or church, theatre or art, you learn in ballet. It is important to know why you take them, to know what they need to learn, and when, and most importantly, it is important to know whom is doing the teaching, and if you do not know that you do not really know anything at all. I have heard of more than one famous dancer who was taken to ballet to use muscles after a debilitating illness or injury, and who became devotee. A brother who accompanied sisters, a YMCA after school programmer who got the bug, the late starter, the street dancer or troubled youth, and most times the student of the little local school whom has been accepted to a top program (frequently in another country) which ought to , in itself, exhibit the problem in a nutshell. It offers something you do not find in any other place. I do not mean teamwork or competitions, or glamour. In fact, ballet is not glamorous at all, particularly, unless you consider a sweaty, calloused, haggard, starving, and beat-up artist, glamorous. I feel it is mostly a discipline, first, and an art second, and possibly a profession, and somewhat glamorous, third. In the end, no one will probably remember you and most likely you will not ever be a household name, unless you are on Instagram, or model, are self-promoting, and then you are not really a dancer, are you?

Not all dancers become artists, but all dancers become more disciplined, somewhat. I think this depends largely on the training because part of it is ballet etiquette and philosophy, part of it is physiology, and another part is perseverance, determination, hunger, hard work, reaching the sublime art of ballet and mastering that, and it continually learning, working and training. It just never stops. It is frought with injury, if you start out wrong, and just gets worse as you try to correct those things that should have been nipped in the bud, all the time with the studio turning a blind eye and just continuing to take money, pushing and over training at a very early age. It starts out as non-competitive, though in many countries, I could not say that, because there, they expect it to lead to greatness, or not. But again, they have a system and if you are accepted into it, there are reasons that you were, and according to them you have the facility for ballet, and then they provide the training. As you get older, it is much harder to get a consensus, and in some ways, to professionals, more obvious to see who is possibly talented and who is not. Competitions, in a way, make this worse.

But no matter when you come away from ballet, as an aspiring professional or not, you keep what you learned for the rest of your life, whether you continue to dance or not. You will always be a dancer. If you have been dancing for at least a few years, you are already a dancer, no matter whether you are famous or not, and more and more people pursue dance, or parts of it, for exercise, and movement, as adults and as non-dancers, than before and in some ways this is good, some ways not so good, or misleading. Perhaps this is okay if you understand what it is not, but it also takes away from the whole purpose of ballet training, if only part of the form of it is followed, or part of the technique, such as in Barre classes is done (badly), but it is not proper ballet training, is bound to cause injury through repetition, so it is ballet, but without any or all of the safeguards involved, without experienced or knowledgeable teachers, taught en masse, like gym class. That is not ballet. NOT ballet. NOT BALLET. Why not go to one of the MANY adult ballet classes offered at studios for that purpose. There is nothing wrong with barre exercises, but it is a component of other parts which are important. It is dangerous to give it credence, even a foothold in the world of a fitness craze mentality. These people will have children and will say, “I know something”-a little knowledge is sometimes very dangerous.

I do not believe that doing barre makes you a dancer and to an actual ballet dancer it is hard to separate it, explain it, impossible to rationalize, or to even acknowledge it at all because it should go against everything they have ever learned or will learn. Ballet dancers are snobs, sometimes. This is good and part of ballet, but it is also a discredit to the world of people who could be supportive of ballet and whom for that very reason sometimes, are not. Ballet should be for everyone, to a point. These types of activities also send the false message to average people, “You, too, can look like a ballet dancer, have a “ballet” body, be a part of that, do pointe, etc.,” and they are selling an image, a club, as false a claim as any claim could be, marketed as a sport, unintentionally or not, and untruthfully, that barre makes you as good as a dancer, and worse that anyone can dance, any part of dance, and that they will be accepted (eventually) into a dance class and be able to do all of the movements required. I do not have a problem with saying “they can obtain a good body,” but I do have a problem with them saying “a ballet body.” They are just exploiting the word “ballet.”

In that sense, dance training needs to be begun properly, with the correct outlook and perspective. This is really true no matter the age it is started. Often students who have “danced” for many years find they are not right for ballet or not accepted into a serious ballet training environment or company. This happens for a few reasons. 1) The training for ballet has not been correct or prolonged 2) Other training has taken place which you cannot easily get rid of the effects or muscle memory of, without great effort, and 3) great effort is required for serious study of ballet, focus, observations and correction, over time, 4) Enough money is not available, and 5) Companies have many dancers applying and they can only take one, or a few. But, with that goal in mind, if that is the plan, private or not, it cannot be accomplished any other way than as above stated, for only then will you even be in the running, and very few people will succeed among the very best. Only a literal few have come from other backgrounds entirely and been successful in ballet. In that sense, alone, it is viewed as an art. If you cannot get past the guardians-you cannot get past them. So, what, at a local school, or primary school do you need to look for so as not to further reduce your chances? Good teachers and guardians, or choreographers.

End of Part 1

Children’s Hospital Hosts Annual Holiday Ballet


Children’s Hospital Hosts Annual Holiday Ballet

Students, pediatric patients enjoy ‘Nutcracker’ ballet in Washington Heights

By Catherine Yang, Epoch Times | December 22, 2014 | Last Updated: December 22, 2014 10:27 pm

NEW YORK—”Dance of the Sugar Plum Fairy” echoed through the lobby of the NewYork-Presbyterian Morgan Stanley Children’s Hospital and 4-year-old Madeline sat up and clapped, engrossed in the ballet before her.

“When she was here two years ago, she was upstairs in her room, quarantined,” said Madeline’s mother Jenna Kellerman. Kellerman had come downstairs for a cup of coffee, and caught a glimpse of the New York Theatre Ballet’s (NYTB) annual performance at the hospital, but had to rush back upstairs.

“She likes it when they’re on their toes and spin around,” Kellerman said of her daughter, and Madeline mimicked pirouettes with her fingers. Christmas means baking cookies, watching holiday movies, and “The Nutcracker” on television, but she has never seen it live. “Every time they had the performance she was sick upstairs.”

Madeline was born at the hospital and had open-heart surgery at 1-week-old, a second surgery when she was 6 months old, and a third when she was 2 1/2, for the same heart condition.

This year, Kellerman came to the hospital to visit a friend with a child in the intensive care unit, and Madeline came along for the performance.

Mice in polka dots and dancers with oversized chopsticks performed the holiday favorite, choreographed by Keith Michael in the art nouveau style, circa 1907. Costumes were designed by Sylvia Nolan, the resident costume designer of the Metropolitan Opera.

“I wanted her to see the show she actually missed,” Kellerman said.

Dancers of the New York Theatre Ballet performed “The Nutcracker” at the New York-Presbyterian Morgan Stanley Children’s Hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)

Mental Healing

For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients and, more recently, grade students of the nearby PS 4. They have performed “Carnival of the Animals,” “Sleeping Beauty,” and “The Nutcracker” in previous years.

“The families and patients definitely look forward to it every year … it’s always nice to be able to bring the arts to our patients,” said Juan Mejia, vice president of operations at NewYork-Presbyterian Morgan Stanley Children’s Hospital. Many of the pediatric patients are at the hospital for extended stay, which means long hours and long days, Mejia said. “It’s nice for them to have a break from being on the floors.”

“There’s a lot to say about the mental healing of patients,” Mejia said. “The ability for them to have a break from the day allows them to really heal mentally.”

Dancers of the New York Theatre Ballet performed “The Nutcracker” at the New York-Presbyterian Morgan Stanley Children’s Hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)

Giving Back

These sorts of intimate performances are the cores of NYTB’s mission, according to founder Diana Byer. NYTB performs in smaller venues, across the world, and “the theatrical experience is quite personal.”

“We can see gesture,” Byer said. Rather than seeing the overall picture from a great distance, “you’re seeing detail. It’s a personal, very intimate experience. It’s how an individual experiences it.”

This version of “The Nutcracker” was refreshed four years ago, from the version NYTB had performed for 26 years. After months of choreography, the ballet was adapted for today’s changing culture.

“It’s designed to appeal to today’s child. It’s in the narrative, the pacing, the costuming, the color,” Byer said.

In addition to small classic masterpieces and one-hour ballets for young children, Byer tries to unearth lost ballets—pieces by great choreographers that have not been performed for many years. “It’s part of our culture and should be seen,” Byer said.

To her, “Art is about generosity of spirit,” Byer said. And performing at the children’s hospital teaches the dancers that. “I think it’s good for the dancers to give back … that’s what art is. It’s something for the public.”

Margery (C), a patient at the New York-Presbyterian Morgan Stanley Children’s Hospital, poses with dancers of the New York Theatre Ballet after the troupe performed “The Nutcracker” for the children at the hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)

Article printed from The Epoch Times: http://www.theepochtimes.com

URL to article: http://www.theepochtimes.com/n3/1158119-childrens-hospital-hosts-annual-holiday-ballet/

via Children’s Hospital Hosts Annual Holiday Ballet.

Rare Book Cellar Rare, out-of-print books-FUN WITH BALLET, 1952


Rare Book Cellar Rare, out-of-print books..

$9k xmas? How about….Margot Fonteyn’s ballet costumes taking a bow at auction


Margot Fonteyn’s ballet costumes taking a bow at auction – Bornrich.