Manhattan Movement & Arts Center
March 31 2012

By Leigh Schanfein.

When was the last time you went to a school dance performance?  When was the last time you even had the inclination to do so?  It may have been last week, it may have been a decade since, and chances are it was because you were related to one of the budding star performers.  Of course we tend to associate school shows with baby ballerinas, simplistic choreography, and immature dancing, but we have to remember that not all dance schools put on the same show, especially in a locus like New York City.  Perhaps we should not be so quick to dismiss amateurs when seeking a dance fix at the theater, and I can say this now because I have recently witnessed the unexpected.  On March 31^st the Manhattan Youth Ballet pulled off a great feat for any dance school; it put on a performance worthy of an audience that is comprised of more than family and friends.

The Manhattan Youth Ballet is a non-profit curriculum-based dance academy founded by Executive Artistic Director Rose Caiola, who is also a Broadway and film producer.The Ballet has a small but impressive faculty roster, including Head of Faculty Deborah Wingert, Choreographer-in-Residence Brian Reeder, and Artistic Advisor Daniel Ulbricht, the last of whom would also make a surprise appearance mid-show.  The ballet’s Spring Performance opened with a new ballet by Reeder. Holding Court was a minimalist neo-classical piece that was far too dependent on a sense of irony that was completely lost on the youthful cast.  The dancers looked beautiful in their vaguely baroque costumes, but there was better work to come.  Le Jardin Anime, from the classic ballet Le Corsaire, was nicely done.  Nicole Zadra did a particularly lovely job, looking very composed, soft, and elegant.   The younger girls who made up the corps were very cute and not the least bit clumsy.  What followed was a scene from another major ballet, Don Quixote, in a smartly staged series that notably included the delightful Liza Knapp-Fadani as a Kitri who pierced the stage with her flight and fire.

The second half of the show opened with an excerpt from George Balanchine’s A Midsummer Night’s Dream, that first struck me with the visual delight of colorful bug costumes that adorned the young cast.  The shimmery fabrics were ingeniously twisted into wings and shells appropriate for the stage and cast, by a trio of costume designers who, as we were told in the opening remarks, are former professional dancers.  After being thoroughly bowled over with the cute, I was doubly blown away by Daniel Ulbricht, appearing as King Oberon.  He more than impressed me with his impeccable batterie, downy-soft landings, butter smooth turns, extremely smart use of space, and, oh yeah, his muscles.  Ulbricht not only serves as Artistic Advisor to MYB, he also serves as a magnificent guest star and incredible model for the young cast.  He was a fantastic surprise that momentarily carried my imagination to the majesty of Lincoln Center, and brought the level of the performance to that of the company with which he performs, New York City Ballet.  Of course, my eyes and my mind had been seared.  I was worried that I’d be unable to objectively review the remainder of the performance after Ulbricht magnificently manipulated my perspective.  However, I continued to find the second part of the program to be a delight, my view perhaps prejudiced in favor of this talented group.

The second part continued with a series of variations: from La Fille Mal Gardee, which lacked confidence, Four Little Swans from Swan Lake, which required more teamwork and facial control, Raymonda, which had dramatic countenance but bumpy bourres, and August Bournonville’s Jockey Dance, which stood out as a winning performance.  Both boys, Thomas Barnea and Julian Donahue, did a commendable job.  The show closed with a short excerpt of Balanchine’s Stars and Stripes.  The energetic corps looked great posing to Sousa, and soloist Savannah Green shone with strength.  If only her smile were as unwavering as her pirouettes!  I was left a bit disappointed that there was no solo variation, but the excerpt was a bright flash of color and enthusiasm that left a glow after the lights went down.

This pointe-predominant performance was entirely cringe-free, a feat for which I enthusiastically applaud MYB’s instructors.  I find it strangely common to find dancers very weak en pointe in performance, even at a professional level.  I’ve all too often held my breath, waiting for the imminent twisted ankle, precipitated by the “deer in the headlights” look in pre-professional, collegiate, and regional company performances.  MYB should be proud of that. Even its youngest dancers look downright comfortable in pointe shoes.  A problem remains, however, and it lays with the men.  Usually, when there is a dearth of male dancers, those that are present carry a disproportionately large amount of the work.  With MYB however, the four boys were a minimal presence, which was sad considering the budding talent these boys demonstrated.

If you seek cheap seats to see classical ballet and you are tired of the nosebleed section of the theater, you can easily satiate your craving with Manhattan Youth Ballet.  With guest stars like Ulbricht, a smart program, and up-and-coming young dancers, you’ll be inspired to seek out the unattainable beauty of classical ballet.

For more information about Manhattan Youth Ballet, visit manhattanyouthballet.org

For more information about MYB’s home Manhattan Movement and Arts Center, which holds a limited selection of open classes and workshops, visit: manhattanmovement.com

La Scala dancer fired after speaking out about anorexia.

By Rebecca Martin.

As a ballet dancer, the pressure is always on. Get your legs up, turn more, jump higher, be thinner, be stronger, turn out, rehearse harder. We look at ourselves in full length mirrors in the studio wearing next to nothing and criticise every arm, leg, foot, and miniscule bulge. For dancers, there is no such thing as perfection, so the quest is endless. Add to that the pressure of teachers and directors and the desire to get a certain part or role.

It’s no surprise then, that young dancers – particularly students – are susceptible to eating disorders. They often think that if they are thinner, they will be better or more successful. If they are thinner, they will get cast in the lead role. If they are thinner, no one will notice their bad feet or their height. Female dancers need to look a certain way and maintain a comparatively lower body weight than non-dancers, not only for the aesthetic of the art form, but for the safety of the male dancers who have to partner them.

However, dancers need to eat. With punishing rehearsal schedules and endless shows, if they don’t eat, they won’t be strong enough to perform at their peak. Dancers certainly need to monitor what they eat, but mainly for overall health and peak performance. It’s like the old adage of putting fuel in the car. If you don’t put fuel in, the car won’t start. If you put the wrong fuel in, performance will be sub-par.

Ballerina Mariafrancesca Garritano

So, unhealthy thought patterns about weight and eating is not unexpected and definitely not uncommon in the dance world. Teachers need to foster healthy body image and eating habits so that students can develop into well adjusted dancers. Unfortunately, this isn’t always the case. During my time at a full time ballet school, some of the girls in my class were told on a Friday to lose weight by Monday, “whatever it takes”. Drugs and starvation were advocated in these cases, with another student being told to exist on a diet of broccoli and steamed fish in the lead up to a performance so she looked good in a unitard.

This unhealthy weight obsession has been highlighted over the past few months by Mariafrancesca Garritano, a ballet dancer with the famous La Scala in Italy. Mariafrancesca was fired from the company after repeatedly speaking out about what she labelled an “anorexia epidemic” within La Scala. Garritano first raised the issue of the eating disorder in a book called The Truth, Please, About Ballet that was released in January 2010, followed closely by media interviews, in which she said her weight dropped to 43 kilograms as a teenager after teachers called her ”mozzarella” and ”Chinese dumpling” in front of other students. Both the theatre and Mariafrancesca’s former colleagues have denied all claims. Dance Informa spoke to Mariafrancesca after her sacking to discuss the issue of eating disorders amongst dancers…

What inspired you to speak out about the problem of eating disorders at La Scala?
I talked about eating disorders, both within and outside the dancing world. By sharing the experiences of my own illness during my time at La Scala Ballet School, as well as the similar experiences of some of my classmates, I have reinforced that eating disorders are a real problem that affects people everywhere, including here in La Scala. My sole objective was to raise awareness about eating disorders, in order to help young people learn how to spot pitfalls and how to heal.

You say 1 in 5 dancers have anorexia. Is this problem worse than before or has it always been this bad?
I spoke about my personal experience, 16 years ago – but I did my research and discovered that eating disorders are constantly rising in our society, both here in Italy and abroad. If we don’t encourage people to talk about this issue, we’ll never be able to know how serious this problem is.

Ballerina Mariafrancesca Garritano

Do you believe the problem comes from the ballet schools where the dancers train or is it the pressure of being in a company that makes them anorexic?
I believe teenagers are vulnerable, and to keep them in an isolated environment where they’re exposed to inappropriate language runs the risk of aggravating a predisposition to eating disorders. Those in a position of responsibility must be trained to behave in a way that protects young people from eating disorders.

Why do you think your fellow dancers have not supported you regarding your allegations?
I heard they were offended by my statements – this is a shame, as it wasn’t my intention to offend, but to raise awareness about a problem.

La Scala had hinted that if you continued to speak about the topic, you would be fired. Did this worry you? Was getting the message out more important than your contract?
There is much suffering behind eating disorders and I would have never thought that I’d be ostracised for talking about them. My life, other people lives, are too important for me not to fight this battle. I regret that I had to lose this much, but my motivation came from the bottom of my heart.

Do you intend to continue dancing?
Yes, I really hope so!

What do you think needs to be done to address the problem of eating disorders in ballet schools and companies?
There’s a need for experienced professionals – diet experts, psychologists, and so on – to follow both students and teachers. A full staff backed by appropriate resources is a good start for any school or company.

Occasionally the enthusiasm for dancing is such that dancers neglect their quality of life. For instance they may skip meals due to tight rehearsal schedules, and eventually skipping meals becomes the norm. Dancers should be trained and monitored in this respect – many already know how to look after themselves, but many others don’t. I hope things can get better for every one of us.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance student.

By Grace Edwards

How can teachers keep kids interested in ballet? Aware of the benefits of a strong classical foundation, many teachers are dismayed to watch their young jazz/commercial dance students avoid ballet at all costs. So what works? What doesn’t? And does skipping ballet really matter in the long run? Dance Informa goes in search for answers from renowned dance teachers working in Australia and the United States.

Growing up, did you ever relate to the kids who hated
ballet classes and gave up?

Rebecca Brown, Co-Director, Perimeter Academy of the Arts Ballet, Atlanta: I had one year as a young child when I begged my mother to let me quit. She made me stick with it until the recital, and after being on stage and wearing lipstick, I was hooked!  Kids today often want to quit because of the discipline, structure, and hard work required. They often find activities more fun that are fast-paced with quick results and that involve social time, when they are allowed to talk in class.

Julie Brown, Director, Urban Dance Centre, Sydney: I think you are very influenced by the people who teach you and how you are taught. I was very fortunate to have John Field as a teacher — a truly inspirational person who taught with so much love, it was easy to be inspired.

Barbara Everson, Director, Australian Dance Performance Institute, Brisbane: Because I started late (ten yrs old), I really don’t remember people dropping out of class. We were very committed to achieving. I know that in my first year I sat Grade Two, then in the second, Grade Five, and the third, Elementary. This was expected of us and we certainly didn’t question the decision or the number of classes that we did. I personally could not wait to get to dance classes.

In your own experience, have you found it difficult to get kids to sign up for ballet classes?

Julie: At Urban Dance Centre we don’t insist that the children do ballet (unless they are in the performances groups) and we have noticed that because of this a lot of children choose to do ballet. Also, our faculty cross-references their work to other styles of dance, thus providing continuity in teaching. For example, the jazz faculty will discuss posture, placement, alignment and how classical training helps to achieve these things. Similarly, the classical faculty will talk about pirouettes and adage, and how they relate to jazz and musical theatre.

Liza Pollok, Co-Director, Excelsior School of Dance, Houston: We have a very strong classical school and we use a syllabus. The kids that sign up for ballet with us have a goal to work towards and exams to do each year, so they are challenged and they love it. Most of the students we get are very serious little dancers right from the beginning.

Nicole Bunnell, Director, The Edge Performers School, Melbourne: Often it is difficult to fill positions in ballet classes and the reasons for this are — children find it boring; the music is not of a high and exciting tempo, and children prefer bright and stimulating expression. The exercises are repetitive and slow to develop correct placement and control, and it can be hard for children to maintain focus and appreciate the benefits of the techniques being taught.

Many teachers and dancers believe that it is nearly impossible to attain a professional standard of technique without a classical background. Do you believe this is true?

Liza: Yes, I do believe this is true, as ballet is the basis of all dance. Ballet helps with posture, control, strength and dedication.

Rebecca: Definitely! Classical ballet is the foundation and basic building-block for all popular dance styles. A well-trained classical ballet dancer can typically transition to jazz or hip hop relatively easily given a little time, but this process does not seem to work in reverse.

Julie: I think it is extremely difficult to achieve a professional level as a dancer without classical training, although obviously not impossible. I do think it’s wonderful to see hip hop dancers performing perfect pirouettes in the middle of a routine.

Barbara: We do have students who audition for our full time courses in musical theater and commercial dance without having done classical ballet. On discussing this with them, they have said that their teachers told them that classical ballet was not necessary. They do not realise how wrong they are. For students who wish to go into commercial dance, it is totally essential. All Disney auditions commence with a ballet class; if they get cut at this stage, then it really doesn’t matter how good they are at the other genre. It is interesting to listen to the adjudicators at the City of Sydney Jazz Finals at the Opera House who nearly always comment on the importance of classical training to a dancer. They believe that it is imperative for any student who wishes to gain employment.

What, in your opinion, is the ideal ratio of ballet classes to popular dance classes for career-track kids more inclined towards popular dance styles?

Julie: At Urban Dance Centre our full-time students do three hours of ballet per week, but they also have a technique class every day, i.e. jazz, kicks/turns/jumps, contemporary etc.

Nicole: For students under ten years of age we recommend 1½ hours per week of ballet. After ten years of age, the minimum is set at 2½ hrs per week and the recommendation is three hours per week, but we do not have a set ratio that we expect students to adhere to when selecting classes.

Rebecca: I believe the ideal ratio would be to take two ballet classes for each popular dance class.

Barbara: They should have at least two ballet classes per week, because without it their career-track will be very limited.

Of course, technique is not only the domain of ballet. Do you think that there is enough of a focus on technique in popular dance classes?

Nicole: Our jazz classes have a very strong technical base. As most ballet is set to a syllabus, there are minimum expectations for each class. Unfortunately, not all schools uphold the same level of training or are monitored for teacher development and training in styles other than the ballet syllabus they are implementing.

Rebecca: My observation is that it all depends on the teacher. A teacher who has a strong background in ballet technique is much more likely to focus on and understand the importance of technique in popular dance classes.

Keeping kids in ballet class is only one part of the equation. How do you keep your students motivated to do their very best in ballet class? What works for you?

Julie: I teach ballet to our full time students and find that constantly cross-referencing the work keeps the students engaged, as this allows them to fully understand and appreciate WHY they are doing the work they do. The speed of a frappé, for instance, can be related to isolations, dynamic quality, and core strength, whilst the correct placement in an arabesque is extremely important when we are working on a variety of lifts, as the boys need to know that the girl can hold her alignment herself.

We can work through the whole class in this manner and if the students are focused on a career in commercial dance it is easy for them to understand the WHY. I recently overheard one of our new Certificate IV in Performing Arts students say, “I never thought I’d actually enjoy ballet, but it’s really good”!

Liza: What has helped us is the exam system we have and use; they are working the entire year on their syllabus grade level and getting it in their bodies so they can build on it the next year. They all look forward to their exams, the results they get, and how much they improve.

Barbara: All students have to have goals, and we encourage them to achieve these. With continual positive reinforcement and nurturing we find that our students respond well. I use a lot of imagery in my teaching that stimulates them. I encourage them to research solos on YouTube and discuss what they find with them. I always include an anatomical approach explaining the use of the body during exercises in every class no matter how young the students are.

I work to weave dance history in as well so that they understand where dance comes from. It is heart-breaking when teenage students have no idea who Nureyev, Fonteyn  and Baryshnikov are. This is when the old VCR comes out and movies such as “Turning Point” and “I am A Dancer” are shown.

Rebecca: This is definitely an ongoing challenge!  I believe that personal encouragement and one-on-one contact with each student is critical to make them feel valued and good about themselves. Careful class planning is also very valuable for the teacher. Students seem to be most motivated when the teacher is confident and energetic, moves at a consistent pace, has a structured format, and requires students to discover the joy and rewards of hard work and self-discipline. Always with passion, love, and a smile!