Please vote for NYBI to receive a $100,000 Mission Street Grant for programs to assist those of modest means. This grant will enable us to provide employment and scholarships for young dancers for the new program. Please visit and vote. We need 250 votes before June 19 to be considered. Share it with your friends. It doesn’t cost anything, but every vote counts!
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Sessions are July 1-31, 2015 and August 1-31, 2015. Check out the Pinterest photos of this fabulous International Vaganova Summer Intensive.
If you would like to receive an application packet for The New York Ballet Institute Summer Intensive 2015, training information, scholarship assistance or general inquiry, please fill out the form above or contact them at email@example.com
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Do you want to have a professional ballet career? Are you a professional dancer who is seeking to work on his/her artistry, performance, and refinement of your classical technique? The New York Ballet Institute, est. 1989, is hosting a Summer Intensive for Pre-professional advanced and Professional ballet dancers this Summer. The intensive will be directed by former Kirov and Mikhailovsky dancer and choreographer, Ilya Gaft, and his wife Zoya, also a 22-year ballet career veteran. He is a former Kirov, ABT and NYCB teacher, coach and choreographer. Former students and dancers include, Anna Liceica, Marcelo Gomes, Gillian Murphy, Larry May, Christopher Newman, Oksana Konobeyeva, Andrei Jouravlev, Irina Dvorovenko and Maxim Beloserkovsky, etc…. Teachers of ballet are also welcome and encouraged to attend the intensive for learning the correct Vaganova or ‘Russian’ methodology and choreography. Coaching sessions are available, too. Please email firstname.lastname@example.org for more information. The Ilya Gaft Dance Theatre will also be auditioning dancers through the course of the Summer Intensive for the company for rehearsals beginning in the Fall.
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What would your dream ballet school consist of? Utopic?
Self expression, a dictionary, communication, ballet and any of the forms of art should not have a price tag associated with them; this keeps the poor down, and allows only the sublime communication of expression of emotions and feelings to the rich. When England is considering removing dance from community schools and centers, we should be thinking of it. It is akin to denying the Irish the right to learn their own language in school, it is the same as sending those exercising freedom of expression to Siberia, it is a critic burning all of the erotic notebooks of a great painter, it is denying cultural and spiritual freedom, which to an artist, or a person, it is worse than the loss of any particular religious freedom. It is taking away the art supplies of children in public schools, or musical instruments, denying some people the right to dance, or covering the beauty of a face. It is the loss of expression. It is criminal, because it is constraining and reducing the human need to express oneself effectively, experience joy, in whatever way we are gifted to do so or allowed to behold or hear. It reduces options and intellect, feeling and hope.
Irish Trinity knot in Co. Sligo, IRE (c.1980)
People should not be confined to trying to find the meaning of life via the computer; it’s not in there, anymore than it can always be found in public works. The country would be a better place if everyone were required to produce or reproduce one work of art per year. No rules, no rewards, but a plan to exhibit on certain days, plays, performances, screenings, readings, exhibitions, concerts, and otherwise share these works instead of posting opinions on Facebook. Express something! Cook. Create. Do. Read. Dance. If everyone did that when they came home from work, Facebook might be a friendlier and more interesting site. I get almost nothing really original from Facebook, but I receive something and give something through art. Art is an exchange of value, not merely a means to only promote oneself, one’s studio, or groupthink, but an opportunity to actually stir someone’s emotions and speak to people on a non-verbal basis without regurgitating news, or risking people not appreciating what you have to say, or worse, rife with all the bias, negativity, exploitation of cruelty and sensationalism that ‘news’ has become. The artist does not, or should not, care about what people think, but should make them think, or entertain, or inspire. Sharing is optional, not mandatory.
Free to say on my blog what my ideal school for ballet would be like, I can just imagine it: Mine would exist in the near future, but encompass the ideals of the past. Real ‘classical ballet’ would be taught. If today’s modern attitudes (think Terry Gilliam’s ‘Brazil’), were weighed, parent involvement would be discouraged-all parents. It would be free, of course, or only cost what one could afford to pay, and the word of the parents would be taken. There would be no long forms, embarrassment, or questions for the family or the child. Parents would be permitted to view the classes from high definition television screens by a feed in a comfortable public waiting room off-site, and my child would be welcome to have an adjustment period to see if the program suited her, and vice versa. No contact with parents would be allowed by teachers, staff, or others involved and there would be no opportunity for nepotism. No politics whatsoever. This would result in detachment. Parents would be encouraged to come to performances, and to allow their children an education free of stress and pressure. Students could go home any time they want to, for any period of time, no questions asked. Of course there would be some boundaries, and students would have to really want to be there. There would be total honesty and transparency in all things, however, with members of the collective, or public, ZERO profit motive, full benefits for all employees, full health services and dental, separate administrative offices and no principal or favoritism. Therefore, it would not be a business, an ego exalting enterprise, a proving ground, but rather a sort of collective, of the students and teachers with the purpose of improving minds and bodies altogether. There would be civility and proper ballet etiquette. It would be a place to become cultured, and exposed to not only the rudiments of ballet, taught absolutely correctly, but also the other arts, music, and academics, and employing a Platonic code, where ideas are heard and discussed politely. There would be optional extra classes in history, humanities, science and math, and any other subject a student had a desire to learn more about. Someone would be willing to listen. Innovation would be the only rule to practice. Learning would be the key, knowledge the door. Language would be taught. A salon. Each student would have many varied performance opportunities. The purpose of the education would be for the express purpose of performance on the stage. Performance is not a life for everyone, but it is a necessary field, and therefore should be an option for anyone to pursue, not for merely a select few, and money should not be a factor or art and people will suffer.
Sir James Augustus Henry Murray (in the Scriptorium at Banbury Road) (7 February 1837 – 26 July 1915) was a Scottish lexicographer and philologist. He was the primary editor of the Oxford English Dictionary from 1879 until his death.
In short, everyone would be happy and productive. There would be an emphasis on learning to love learning, and healthy competition would be encouraged. Everyone would get a chance to create, perform, and be involved in productions, theatre, music and choreography. There would be an in-house system of evaluation, levels, and only those who truly desired to leave would go. There would be something for everyone, including various companies, production experience, career guidance, and placement assistance at graduation. I think this could be guaranteed to dedicated and mature dancers who were prepared to pursue a career in ballet, and to those with this sort of education, a place could be found for them anywhere in the arts or higher education. Perhaps if such a school existed, other schools would see its benefits and follow its model. In communities where drugs and crime are a problem, this would be an ideal environment to provide a haven from the day-to-day misery of disadvantaged youth, but no one would be any different within its doors. Something to do, someplace to be creative, to learn free of obstacles, free from violence and peer pressure. Good food, great friends, good people.
This should not be denied to any children in the ballet world, but should be given to them, first. It sounds like any school, and it should be all schools, but I am thinking about ballet, performance specifically, and the creative spirit. If you treat children like they are worth something, they will be. If they cannot afford to pay for this opportunity, then the world is a place needing much improvement, for how we treat children mirrors ourselves and our future as a world, not just a country, a state, or a city. Tough luck, rejection and even poverty can be born if we believe we made the right decision and if we believe in ourselves. Children need to be the priority in investment. If we have a generation of vidiots, scared, and have instilled a sense of hopelessness in young adults, it is our own fault for putting war, oil, personal gain, desires and greed ahead of education and children. Too many children went through the cracks. We have failed them all and should work to improve their outlook. Some may never know anything better in life than this, but ballet is positively a cure for some people, and for many of humanity’s ills. It entertains, raises the spirit of man, and lofts or elevates thinking, makes dreams palpable. Unfettered, like an experiment, it is another path, and one possible choice, for a certain type of person, a type necessary to the continuation of art.
This methodology offers an injury-free, safe, inclusive environment for the teaching of art, not brain-washing, but freedom to think, to be. It is also a path to instill faith in oneself, confidence, and the self-belief to follow a path of one’s own design and choosing, based solely on one’s own initiative, respect and the free exchange of ideas conducive to the creation of all great art. Life should be lived for joy; where sadness, failure, and dissatisfaction are taught, little great art can flourish.
If a school could exist like this, it would begin to be built now, planned and designed, and it would house about 200 students. It might take a few years to facilitate, due to the course of existing funding channels, but it could be built, and it could follow all of these very simple precepts, eventually, and it would be successful in turning out correctly trained dancers, all vastly educated and accomplished. Each one would be unique in their development, and loved. Every year, each graduating class would spread this logic and the value would resonate, like a Picasso when you stand in front of it as so many of the thousands of silent viewers before you have done. It is like walking in the backyard of the childhood home of your favorite painter, on any given day, seeing the light as he saw it, shadows cast, the area and his possible perspective. There is a magic bullet for human-to-human understanding and communication and it is really evident in the proper study and process of all of the forms of art. Don’t believe a word of hype; it is very difficult to squash the human spirit.
She has raised a whole $20 and she is very excited it is underway! I know it does not sound like much but any donation is inspiring and considerate and appreciated!
She started her classes this weekend, although we have met with her teachers very often. She and they are very thrilled to begin work. She is a very hard worker and has already obtained a part-time job in the evenings.
Already she is learning that there are very strong difference in the technique and artistic styles and her teachers are very old school. I will leave those wide differences and contrasts to her to explain in her updates to her Appeal. If you should choose to subscribe or to donate, she will keep you posted!
On the other hand, of you donate to this blog (or both), I will put your investment to good use as as well. Currently, I’m planning to begin a ballet school in New York for underprivileged children. They will only pay what they can afford, if anything, for correct ballet training. If anyone is interested in assisting with this, please contact me directly.
As usual, if you want to read up on the Differences of Movement, check out my book on my blog under differencesofmovement.wordpress.com
These are revised histories of great ballets as published in a supplemental education newsletter for students and practitioners, or those interested in the history of the ballets-useful as a starting point.
I remember the first book my mother gave me about ballet. It was already a very old book. The illustrations were of a little girl in a leotard with ballet shoes. She wanted to learn to dance. Her parents took her to a ballet class. After the lesson her new teacher asked her if she would like to come back. Her parents put a mirror her room and a barre to support her first efforts. She practiced what she had learned that day-so did I. I read and re-read this book and committed to memory the first positions explained there long before I was ever able to take a dance class. I didn’t start dancing until much later. My mother was not able to afford ballet-even in those days-but I wanted to learn. It was not until much later that I was able to afford dance classes, but that little book, and those days, came to mind.
I was working in high school and I decided that if I wanted my body to be a temple I should start treating it like one. I needed a plan, an outlet, and a safe place, and suddenly the idea of taking dance classes (probably put into my head by my mother) was born. I went to the local ballet studio in Dayton, Ohio, where they had a company, a junior company and classes and I tried to register for the adult class on Friday evenings. They asked me about any experience I had and I had to admit I had none. They recommended that I take some ballet lessons from the local community college before enrolling in their class, which required some knowledge of ballet, so I did. I registered for modern dance and beginning ballet classes. These were held 4 evenings per week.
It didn’t start with a book with my daughter, although maybe it did, and I don’t remember. I bought a lot of books-books represent about half of me. She started dressing up in costumes with her brother when she was very little and they danced! I would have to thank Daffy’s for that, because I could not have afforded tutus and things like that if it were not for Daffy’s in New York. But, it was much later, when I moved from New York to California, that I actually registered her in ballet classes-just three years ago this month. As she remembers it, she wanted to take tap , then jazz, classes with her friends at the local dance studio in Laguna Beach. She was there for the year, but when she wanted to register for more in the Spring, I informed her that I took dance very seriously and I wanted her to learn ballet as a basis for every other kind of dance she was to learn (and modern). If only I had had this opportunity with my sons, who assiduously avoid anything I formerly did! Her friends were treating dance very cavalierly, as a hobby, something anyone could do, and their expectations were not realistic, but it was fun. She liked it. I thought dance was hard work and required formal training to understand and to be good at, not something you did down at the little local studio, putting on recitals and getting on your pointes too early. I told her that if she wanted to take these classes, I would also insist that she take ballet classes from a good ballet studio three days or four days per week. That was the deal. She agreed to try it, reluctantly.
If I had waited another year, or not had my convictions about ballet and dance, perhaps she would have fought me on it-and won-as my sons did. But she didn’t, so I (hurriedly-I have two older children-you have to strike while the iron is HOT) called the local studios and researched them on the Internet to find a class appropriate for her from a reputable school. I think it is very important to look very hard for a child’s first ballet studio. Their philosophy is crucial for your child’s positive outlook about dance and especially themselves. I did find one studio on the Internet which advertised and upon calling I found that they had a level class that was appropriate for her age. That’s about all that I can say positively about it. The good side was that we possessed this impulse to register, we had some money-my grandmother had given me-and she was willing to try. Beyond that, this world was very foreign to me, and this was a pre-professional school. Admittedly, she (and the other students there) had a lot of flaws, but they had been working on theirs, were approaching it from a level of professional preparation, and whether all of them had the design or facility to become professional dancers, the opportunity was there to try. This was more than a bit intimidating for us. For me. In all fairness my daughter did not have this perspective. She was naive.
When, over the telephone, the co-director from this school said to me, “You don’t expect your daughter to have a professional dance career, do you? She is starting very late”- I should have left it, left perhaps, but she must have gone on to say something else, sometimes words just popped out of her mouth, and I think she was saying that, if I did, and she knew I was, that we would have to work harder than everyone else, and we would have to see. She would have to take more classes, and this became an issue later. This person was very knowledgeable about what it takes (now) to become a ballet dancer, and a professional dancer, but their school typically did not force movement or extra classes on students because they burnt out. This came up in a later discussion, but at this point, I cannot lie, I took her meaning perhaps in the wrong way, or perhaps she stated it somewhat differently than she meant it. But we went anyway.
She enrolled her anyway, and the tuition was much higher than the little dance school in town, but not unimaginable to pay for quality ballet education. I waited to see what the teacher was like, and my daughter went to class. I will say that an unlikely pair, these two directors were actually very professional and delivered a really good dance program for students. Their productions were beautiful, and they provided many opportunities for advancement. There is the studio politics, which they try to keep at a minimum, I suppose. It is probably much more of an issue with families who have more serious intentions for their daughters, where the children may or may not have what is required to become professionals. Parents like that want a guarantee that their children are going to have the best chance, first pick of the roles and plenty of opportunity, before they make an investment or while they are doing it. It did not result in my daughter, at her level being denied prime parts, of course she was not ready. She had parts, she took class, she learned about the ballet studio from the ground up. She had a phenomenally nice and caring first teacher, Ms. _________.
We were definitely not in that market, either, and through sheer differences, are likely never to be. By hook and by crook, we have managed to avoid a lot of those arguments, and pitfalls. We have not become (as so many have wished us) carrion of ballet on the roadside. But, I did have a very difficult time making friends there. It was very cliquey. But the directors were not the ones controlling that, and after a while, the parents (sort of) lightened up and were a tiny bit nicer or at least took the attitude of, “Well, I do not want you here, but if you are staying, then help.” But it is not until much later that you even begin to understand this and can develop a sort of callous against it, or toward it. In many cases, they mean to make you leave, want you to leave, and the children (and parents) will sometimes actually say it. It is a very emotional environment. But still, you can talk, and make friends, watch your children grow, become involved, stay busy, if you can handle the heat. Some parents there were really nice from the start, and some were in a position, or trying very hard to get into a position, to help control their children’s careers and opportunities even further, and some were never around. Even though I like that type best, it is not conducive to running a ballet studio where so much is expected it would take a King’s ransom to afford and most ballet tuition just does not cover it, so putting up with parents, inviting them to volunteer and dealing with them is usually necessary. There is the argument as well, that you need to be there for your child.
I thought, who was she to say at that point what potential my child had, or what path she would take in dance? I literally kept this in my mind, did not tell my daughter until fairly recently, and it went on the list, rightly or wrongly, of reasons to find somewhere else to study, eventually. It was a decision-making factor, however she meant it or well-intentioned she was. In fairness to her, she never brought it up again and does not remember having said it now, so after all this time, I am forced to let it go, as she probably was just having a case of verbal diarrhea, thinking out-loud, and let’s face it, being truthful. We had no idea what we were coming into and she did start very late nowadays. Much has changed since I was a little girl, or even a big one. We were literally NEW. Some people say they are NEW when they come from another studio, switch forms of dance, some even lie about their age or training. Determination is a major factor for learning dance and any limitations taught or observed, in my opinion, are a harbinger for disaster of art and teaching dance education, once in the classroom. And you will find, left alone in the classroom, most of these political issues fall away, so you have to back off. Anyway, that was not the reason for our leaving almost 2 years later.
Perhaps if my daughter did not have the negative experiences that she did she would not have been challenged enough to keep dancing. At least that is how I see it now. She was a natural in many aspects and she loved it! She loved to dance. It was a new world to her. She really wants to be successful in dance, and has her own unfiltered vision of how that is going to be. Even then, she eventually developed her own critique of the school and the teachers-saw whatever they did and judged them. This had somewhat of an influence on me because of course, I was very naive about it, and yet, wanted her to be happy where she was, felt she could be taking more classes, and needed to have more performing experience or attention. If there were things that went wrong, or unfairness (in her mind) towards other people, she judged immediately those in the position to act as adults, keep their silences, and treat children decently and fairly. She made her own decisions about that. I was the driver of the car, but at a certain point you become just that and you guide your children, approve or disapprove, but they fill the sails!
She had just turned eleven at this point and the way I was taught-my mother had been a dancer and her mother before her, going en pointe much before 12 would mishape the feet, damage the bones and muscles, shortening the life of the dancer’s primary tools and career. There is much to learn before going onto pointe, however, and my daughter has had her share of problems. We bought the regulation white demi-skirt, ballet slippers and white leotard. I will always be glad we started there if only for Ms. ______ and the white outfit, but also because when I look back, it wasn’t as bad as all that. Maybe that was the moment of truth. A lot of the inspiration for parents to spend a good part of their lives driving their children to ballet, washing leotards and tights, attaching elastics and ribbons to shoes, buying shoes and the other accoutrement that attend ballet MUST be borne from the vision of our children actually in the dance class on the stage performing. I missed that class. I admittedly was more concerned with what could take place mentally in dance, as it had for me, forgetting that my own daughter was an entirely different animal and I did not have the perspective of say a grandparent, or mature dance practitioner. This is very important in ballet actually, and I believe has a tremendous amount to do with children quitting or not continuing ballet, not putting enough into it to succeed and parents being involved with certain aspects of ballet training that they shouldn’t thus slowing the development process. It took me a long while to adjust-I am still adjusting.
Learning is taking place, and even though it is not traditional learning, it should be traditional ballet discipline and movements. For me, I was in rapture at her in her first class. She could have been Pavlova, Margot Fonteyn or Cynthia Gregory standing there in her first class. She seemed to have their natural deportment and grace. Compare it to when you first lay eyes on your child and that wet baby is the most beautiful treasure you have ever seen in your life. This was right up there, as an experience, for me, and I had not seen or felt that, to that degree, before. I never thought about it much at all. I have a feeling this happens to a lot of mothers-maybe all the hopes of what they can become lie in ballet, discipline and it is though we say, “there,” is where she will be safe, where young ladies belong, the best environment for her growth, development, comportment-as a women-where she will find her strength. It is OUR imagination that sees ballet as their calling and possibly, their savior. We want all the attributes that we fantasize about projected onto our children: the grace, beauty, sylph-like litheness, slender bodies, costumes, roles….it is how we are sucked in, moved. But in the end, although no one else really ever understands us, it is just about the best thing you can do for your child-in my opinion. Whether I am in that league, and there is of course, a lot more to it, it dawned on me, that competition and jealousy are your enemies in ballet, and now I realize they may be your only friends. That is not what I foresaw for my daughter, and I did not see her flaws at first, how much hard work she would need to put in, and how that hard work would have to be held up continually with no breaks, how expensive it would become, or that it was exclusive. In may ways, the co-director should have said more, a lot more, but that only proves that either she wanted my money, or she had hope. Hope, in the end, is all you may be left with.
Although there is nothing at all wrong with this, we often have to ask ourselves if they have it in them to succeed and their pains are our pains, making it, I am finding out very difficult for us to watch as they learn, and yet making us prouder than we have ever been if they do just one thing right. This becomes each and everything as they follow a syllabus, graded or not, for each achievement mirrors the other obstacles in life they have to take down, and day by day, we grow ever more confident of their abilities to be successful in life, if they continue to do so. Ms. ________ was the primary ballet mistress and how kind and wonderfully encouraging she was! We also project onto the teachers the values we espouse, imagining we have a clue as to what makes the dancer tick, binds us with the studio or its directors, the teaching process, or our child for that matter, and I often see parents butting in, trying to tell the teachers what to do, “helping” out, and how often these efforts by the parents anger other parents, and how petty jealousies ebb and flow, how much drama the parents bring into the studio, themselves. This must be very frustrating for the teachers as teaching ballet is no less an art than dancing it, and it requires much more patience, concentration, communication and a special, unbreakable bond between the teacher and the child-one that I warn should not be undermined by the helpful or protective parent. If there is something you cannot tolerate, tell the teacher about it privately and NEVER communicate this with your child unless it is to assist them-and think this over very thoroughly before doing so. Sometimes we pass on to our children our own fears and protectiveness and this can hurt them understandably as they need to form their own opinions and experiences. This, however, in ballet, is pretty much impossible as we are so selfish.
Putting up my daughter’s very long, thick hair was an exercise in itself, but like all the disciplines of dance, this becomes easier and then the dancer takes over, adding this skill to her ballet accomplishments. A good bun is remarked upon even by teachers (I remember mine was pronounced “beautiful” by Ms. Schwartz and I was very proud). A sloppy bun-sloppy dancer! It sounds priggish and judgmental, but this basic discipline serves the dancer well, and to support the teacher in their role as leader does your child no disservice. Command attention and respect for the teacher! Focus. Straighten your seams. Sew your own ribbons. One by one, these “exercises” add to the installation of discipline and direction, taking the young girl and leading her into womanhood, responsibility and grace. They also learn dance etiquette from all of the other students, so I am really for a firm hand by teachers in fraternity and humanity. I really do not like slovenly teachers for beginners, professionals or no. They seem to have no self respect. How can you teach that without it? No matter the parents, the children are what is important. Respect for the teacher, timeliness, cleanliness and a host of other things that you could not teach them at home easily. So why come into the dance studio at all? You have to trust them, right? In all, a dance studio is a very nice home away from home. It becomes like another family for them, and as they grow, they realize, it is a small world, which the outside world has hidden from them, and which if you are not careful, your child feels more comfortable in than the real world. This can be a good place to be these days, though, and it does protect them from some of the experiences associated with youth today, but not all. It is important that they have outside friends and social activities and experiences. They should be encouraged to continue school, no matter how ‘serious’ they become.
There was much made of the brand BunHeads in the stores, so I bought a lot of other little things like pins and sewing kits, etc..that were not available when I was young. I may have spoiled her just a little bit by buying things I wish I had when I was a child-this is probably a mistake, but I enjoyed it much more than she did. She only loved dancing, and accessories decorate her person, but she is just as happy sweating away in her favorite torn leotard, failing to be able to locate a new one like it. I only had two or three leotards the whole time I studied dance and although I recommend a stoic dance ritual, focusing on the technique and not the costumery, there does come a time when “dressing up” is part of the social environment, and preparation as a dancer, a sort of “coming out” which the dancer learns from her peers. Humorously, this might result in periods of awkward hairdoes, too much make-up, and bizarre colors and styles of leotard, but it is a phase and a sign, that the dancer wants to be an individual, a sort of rite of passage for female dancers and get pictures because chances are this elementary phase disappears eventually and there burgeons a young woman, replete in her formality and seriousness, bound for eventual maturity and grownup qualities and the little girl is put far behind her. You will want to remember these days.
I could not resist-but this did result in my daughter asking for many things she did not need. Black is the true color of your beginning dancer’s wardrobe, and until it is deemed that he/she has reached a level to merit some other color (or the studio has designated levels by color), they must get used to it. Usually, some studios relent and give the dancer’s one day a week to wear a colored leotard. You must think of this as you would of uniforms in private school-the emphasis is on the learning, not the wardrobe. As you must also remember it is easier and less distracting for teachers to view the girls in identical wardrobe and clothes for correction of mistakes and proper use and development of muscles. For me, now, important in considering a school, would be the deportment of the other students, the professional attitude of its directors, and knowledge, but perhaps most importantly, that the children are not injured and that there are proper corrections going on constantly.
There is much more flexibility in balletwear than when I or her teachers studied, you can imagine and we cannot help but to compare our own experiences with what is going on around us. I have even had the professional dancer, and even those with children, who are also dancers, expressly tell me that things have changed drastically in formalism, training and the world of dance since they were in school. It has become much more competitive. There is certainly an emphasis on gymnastic training and innate flexibility. Even of different parts of the body, not just splits, but say, back, and or feet, curvy and not straight. These aspects are hugely controversial, too, and despite these judging points, dancers continue to be successful who do not possess all of these traits, and injuries continue which cause some dancers, who would never have a chance, to be the replacement for one who had all of them. Just life and chance, persistence and dedication, and teachers. Not Descartes, but I dance, therefore I am a dancer even before I began to study the art form known as dance, I was a dancer. Dance to me is the study of ones self, the limits and abilities of the body and the mind. This I reinforce with my daughter daily, so believe me she doesn’t ask for much anymore! Sad in a way. I feel this is very important….really. As she gets older, I realize that perhaps it will come, and perhaps she is a bit of a different kind of dancer, and I am glad, either way, that she takes joy in ballet, whatever her reasons.
Likewise, practicing what they learn in ballet is very important. It is a fact that the more you dance, the better you get. You cannot expect to become something if you take a class and leave. Dancers think about dancing 24 hours per day. Some people work very hard in class and then do nothing in between. Some work more outside class. Some take privates, study other forms of dance, gymnastics and a myriad of other disciplines, too. Some are not sure about ballet. Everything changes all the time and it is common for the parent to be in one mind and the student to be typically of another with respect to their training and wishes. Who knows more is very difficult to say, but you can rarely separate the two ideologies until the dancer matures, comes into her own, progresses. I believe ballet is its own discipline and a strict and jealous master. She believes that, too, perhaps more than I do. Once asked how she prepared for surfing, what exercises she did to strengthen for surfing, a champion surfer said, “surf.”We have discussed what made me dance, why my daughter took a ballet class, but what kept her there? She did, and I did by taking her. But her happiness and zeal for learning drove me to it, forced me to endure it, and then, only begrudgingly, did I take a sort of pride or happiness in it, when I happened to catch an improvement in a step, a jump, an expression or a force-then I was truly pleased.
These two elements are key-and I know a few mothers who take their daughters to dance and the daughters do not apply themselves. They do want to be there, but they do not want to work and they do not want to become professional dancers! You cannot make someone a prima ballerina. They have to do that, they have to have it all, not you, so stop kidding yourself that when they are 14-15 they will not quit, get a boyfriend, do something else, and it can happen anytime, maybe unwittingly. All that work and labor and emotion down the toilet so you say, but it becomes part of them forever, and no matter your broken heart, they may find another career more realistic, or they may just decide that they are not really interested in working against their flaws anymore, or they are moved to do something else. Whatever the case, I think you will find they are improved as a person by the experience of ballet school. You might be best advised to find another pastime and let them do their thing, see what comes of it and not take it so seriously, for you will not matter in their or the world’s final assessment and decision. Letting go is hard, but I recommend it, eventually. I think that my friends are right in bringing their daughters regardless of the outcome, because children test you in so many ways, even threatening to hurt themselves with actions that they are aware will hurt you, too. But, if you hang in there, you send your child more positive messages than negative ones by your example and different kinds of positive reinforcement.
What makes people dance? I mean study dance, be drawn to it everyday, choose it as a way of life, a vocation, an avocation? What is it that calls to so many people on so many levels from so many walks of life and backgrounds, to know more, learn the language of dance? It is the only art I have ever known that encompassed all of me. It is usually because they are good at it. I have never known anyone to like anything that they were doing poorly in: math, sports, music, even socializing-you name it. Students who are good at it always find someone who is better. This is important because we learn, from those better than us, by watching. Also, if we are good at something, we feel rewarded by our efforts in it. If something is continually disappointing, then we lose interest. This is very self-evident in ballet. Perhaps parents getting involved in it and pushing their children into it, keep the rest of us, and our children from finding out that it is , not for them, as we are forced to wait to see if our own children have what it takes, aside from the politics, the same children getting the roles, and we would or they would realize more quickly how hard they need to work and exactly what they DO need to succeed. If you hang around enough though, your child does gets better, those children will sometimes drop out, body types change, interests do, too. So much can happen, just like real life, that you have to see it through,persevere. Much of this is up to teachers who interact with us in class and do not criticize too much, but rather give us things to work on regularly and pay attention to us as in, “You can do better!” and not, “You are hopeless.” But do not expect this to work-sometimes the tough tact is required for certain children to succeed and they like it. Other children do not like to be told they are wrong, cannot bear failure, and must be cajoled into liking it. No child is hopeless, in my opinion, but I am sure a lot of good dance teachers would disagree with me. There are many snobs, but be thankful, in a way, for the schools who take only certain students, protecting you from a too-submerged technique, because they could also be saving you a lot of money, and if your child still continues to dance, one day, they will be in the same classes with many of those students, and finally, they may exceed those students in some abilities or in their career. It’s all about the dancing and Keeping on Dancing! It’s funny, but there is definitely something to not quitting and continually working toward your goal. More about that in another post.
What definition of dance do you want for your children? Do you have a past affinity for dance, or rue lost opportunities or dreams? Do you want them to dance to be the best or to most enjoy the experience of dancing and learning and discipline? Do you want them to compete? Do YOU feel competition is the key to being noticed and being successful in dance or does your CHILD? Or do you feel the expression of dance is most important, the vitality and slow transformation of the body into an instrument capable of responding to directions to express beauty, emotion and strength or are you of the opinion that your child can do anything you MAKE them do? Children aim to please, but to demand too much of them, even if successful can mar them for other things in life, as in “parenting.” It is one thing to believe in your child’s best abilities, but it is another to hound them about things you perhaps want for yourself, as a justification of yourself as a parent, as in having the BEST children, better than anyone else. I believe a lot of people think like this and they send their children to dance, trying to find the perfect place for their children to succeed, but I have also seen the work of ballet take over and transform those parents into believers of ballet in general, and to sort it out. And if you kept the parents completely OUT of the studio, politics and business it would be a possibly better place-usually, but dance and ballet would not rise to level of importance in your community or the world, this way, in the ways that it has. Dance needs communicators and instigators, and activists or advocates. Agitators. There is a useful place for everyone in the art, I believe. Sometimes it comes down to finding your own best use. When we realize that we are all doing the same things it is laughable, really, but some people don’t like to be laughed at either. After all, the children aren’t bothered, why should we be?
This is how I found the dance studio environment, thirty years after giving up dancing, with my then eleven-year-old daughter and the answer is I was (completely) out of it, on the wrong foot, so to speak, and she was in it, trying to get on the right foot. Shame on anyone hindering her. But, what to do is puzzling, how to help them the best you can, parent etiquette, how many classes to take, what path, what supporting classes, what schools or teachers, what physical issues are there, what injuries, and a lot of other coverable topics that would clearly help parents to refocus some of that energy in a positive way. A no hands policy is just as bad as one of driving the car of your child’s life completely. A balance is sometimes hard to find and maintain. Her experience seems to be very very different than mine as I remember it. Can you separate the two parts of your own effectually? She has come farther than I did in a fewer number of years. She is solely dedicated to dance. I was not. Is this what I want for her, really? Is that, or should that be, my choice? The answer to that might be the key to everything. What about the rest of the family, financial circumstances, time? Could I have been mistaken? Was I in denial about what I needed to do and what is required of me as a parent? Am I still useful? How can you help and not be a hindrance to your child and to everyone else?
In many places ballet has become a competition-based pursuit, like gymnastics and ice skating were and continue to be. Sometimes the competition has become the basis for everything a studio does and that goes to the training as well. But you will be very hard put, in an advanced arena of teaching, to find one that does not do some competitions or tolerate students who have that desire. It has been a way for good teachers with good students to get noticed in the competitive selection process of higher education institutions like the Bolshoi or the Royal Ballet School, and helped to provide their students the consideration of companies and the world at large. A way to help students of ballet. A resort, or last resort. Also a response to parents who have demanded those guarantees, how will my child succeed if no opportunities exist for them in the field of dance without training at one of the elite schools, or from those who do not wish their children to have to leave home, give up education, etc. Jazz dance competitions have always been this way, but what about ballet? Are there two kinds and if so, is one better than the other? Has dancing changed or are dance classes at a lower level school always so political and performance selection focused? Competitions provide a student with an opportunity to show off their particular performance skills.
My mother always warned me against “performance” studios. Why? Are there some bastions left of excellence in the art of dance? Yes, many, in fact, now is probably the best it has ever been in this country, or the world, to find a reputable and caring place to study ballet, to have the best training, and the best possibility of achieving your goals in dance. Whatever may be said about the studios we have been involved with, they took my daughter and began or continued her in her path of excellence in dance, so there I did not err in my judgment or choices. They have all been exemplary in their way. They did care about her, but I may not have handled the situation correctly, or they may have left off communication misinterpreting our departure, etc. It takes work on both sides. Some studios may not be willing to go that far to keep your child, so my motivation, and hers, is to find someone who is willing to work with you. Some parents do not have that problem for many different reasons. You do have to guess and factor and plot and try, for your child.
In this environment, how do I communicate to my daughter the art of dance over scholarships, competition and “winning?” It is possible that this has been futile, because in the end, if she continues, this will inevitably be a required part of her training and to dissuade her entirely would be to her great disadvantage and she might even be missing an important part to her components as a dancer. The point is, I do not believe there is just one way. Successful studios continue to both promote competition and others to deny certain forms of it. These attributes are widely variable, not mutually exclusive and complex-each studio is different, and may change. I think to take a position one way or the other, without regard to waiting until your child’s future in dance is commenced, would be a mistake. Some considerations will not apply to you then and more questions will arise to ponder, make no mistakes! Keep your eyes wide open and your ears. Judge less, do more. Wait and see. Be proactive.
There are many other issues to discuss about ballet and I hope that this first post of our continuing saga in ballet will be helpful to those starting out. I mean to set the environment for an open communication for individuals to comment with their opinions, advice, and to share their own experiences and insight at length. I will not condone and do not mean to expiate against the virtues of one studio over another, for each has their place and merits consideration. While I might say things about the studios my daughter has been involved with, I intend to give no names, and to protect them from unverified slander, even from mysylph. While each of us may have our own experiences, they are personal, highly emotional and there are two sides (at least) to every story. They have helped my daughter on her path in ballet. Hers is not an easy one, for them, for me, or most importantly, for her and our situation is very particular-so is yours. So, let us rest in giving them the benefit of the doubt and let our own experiences and goals be the guide. They are all hard-working and provide good training.