By Laura Di Orio.

Becoming a professional dancer is like building a house from the ground up. You can’t start by adding the roof and interior decorations; rather, you must start by creating a solid foundation to support the structure and make it last. Similarly, a dancer must establish that foundation in technique before adding all the “tricks” and performance quality. And that foundation, according to many dance teachers and professionals in the field, is ballet.

“Because ballet has been constantly evolving for over 400 years, it has arrived at a very solid method of developing human movement potential for the stage,” says Stephen Pier, director of the Dance Division at The Hartt School of the University of Hartford, located in Connecticut.

“It’s still the most relevant technical training all around and can serve as a very effective way of organizing and developing the facility of the dancer. Most other techniques or styles have not been around that long. They are too limited to be the sole basis of training, and they haven’t worked out the science and art of dancing to the depth that ballet has.”

All of Pier’s students are required to take daily ballet class during their four years at Hartt. Ballet has proven to inform their dancing, and students have gone on to work in a vast range of professional companies – from Paul Taylor and Joffrey Ballet, to downtown contemporary and Las Vegas.

Like Pier, Dawn Hillen, master ballet teacher who currently teaches in NYC at Steps on Broadway, Broadway Dance Center and Ballet Arts, stresses the importance of ballet as a foundation of training. She says even her non-ballet-focused students have benefited. Some of her students who first started in hip-hop and found ballet later, for instance, said they felt definite improvement in their ability to change weight quickly, hit clean lines faster, focus and stay in the moment, and they became physically and mentally stronger.

Dawn Hillen leads a ballet class at Broadway Dance Center. Photo by Fiamma Piacentini Huff.

“You can use ballet to refine yourself,” Hillen says. “It creates a dancer or performer who is centered, balanced, lengthened and physically graceful. Just standing up is an art form, and it is a big part of your first impression. There have been a number of pre-professionals who were not getting work, and once they added ballet training to their daily or weekly routines, they began getting callbacks and jobs.”

Ballet contributes more to a dancer than just refined technique, too. Pier says ballet also imparts skills like “attention to detail, mastery, form, harmony, precision, discipline, social grace and awareness of the group – all skills that help young people succeed in the adult world.”

In addition, Yuka Kawazu, who has been teaching ballet in NYC for 15 years at various studios, including Ballet Arts and Broadway Dance Center, says, “We learn so many things, like patience, discipline, a different language, how to breathe, and we share joyful moments with other dancers.”

For these reasons, it is probably best to introduce ballet early on in a dancer’s training, to establish these skills in his/her dance and life. “If you really have the dancer’s best interest at heart, you must offer a proper ‘diet’ of training, and ballet is a big part of that good ‘diet,’” says Pier. “Not everyone is going to like broccoli if they’re used to eating candy all the time, but you might find some great recipes for serving it more tastefully.”

Still, some students may complain that ballet is “boring” or that learning the basics of technique is “slow.” In actuality, however, ballet is rigorous and demanding and a practice that requires great physical and mental control. To change a dancer’s approach from ballet as “boring” to ballet as “interesting” or “enjoyable,” Pier suggests taking a look at that dancer’s passion. Perhaps he/she is more focused on jazz. Then how can ballet support that passion, and what does ballet have in common with that passion?

Yuka Kawazu corrects a young dancer in her ballet class. Photo courtesy of Yuka Kawazu.

“Sometimes it’s good to show them how many successful artists in that field have studied ballet,” Pier says. “I like to point out in ballet class how different steps or phrases or movements relate to other dance techniques that I know a student is really turned on by.”

Similarly, as a teacher, Hillen says that when students come to her with the “ballet is boring” attitude, she tries to discover what they want, what they value and what drives them, and then she connects ballet to that. 

“The dancer can use this same approach on themselves to link up what they love with what they may need to do that, at first, seems ‘boring’,” Hillen adds. “Ask yourself what you want and what you like and how ballet is actually a means to creating those things.”

Many of Kawazu’s students are young Broadway professionals, and she says they have all come to realize the importance of ballet training to their career. Her teenage students have performed on Broadway in Finian’s Rainbow, Mary Poppins, Billy Elliot, Beauty and the Beast, Evita, Once, The Little Mermaid and more. 

Kawazu says she has had students who didn’t want to take ballet but should of in order to better their performing career. “I tell them that it’s okay to make a lot of mistakes and then they’ll learn,” she continues. “I mix between trying to make ballet fun and teaching more seriously. I would like them to feel that they can get better when they repeat the same exercises a few times. And when they hold their balance or can do the step, I see their face glow. I love that moment!”

In today’s dance world, where dancers are expected to be versatile, it probably doesn’t hurt every dancer, regardless of his/her concentration, to explore other dance forms. But it is the old tradition of ballet that seems to make the difference between dancer and professional. 

“Ballet is the ‘grandmother’ of them all in the Western world,” Pier says. “This system has evolved over centuries and has survived and absorbed every fad imaginable. It has great wisdom and logic imbedded in it, which every dancer should learn about. It’s not important whether or not you think you will become a ballet dancer. It is very important, however, that you become educated about your art and respect all of its various practices and practitioners.”

By Rebecca Martin.

From a small town competition to the international Prix de Lausanne, there is a ballet competition for every age and every level of dancer. Whether you’re a young ballet student, in full-time training, or are a seasoned professional, the benefits of ballet competitions are numerous. However, there are some drawbacks, and the ongoing question of whether ballet should even be competitive. If you’re weighing whether or not to enter the world of ballet competitions, or are already a regular on the competition scene, Dance Informa has put together a guide to ballet competitions to help you navigate the tutus, tights, tears and trophies.

For younger dancers, competitions expose them to the fun of stage lights, costumes, make-up and prizes. For parents, it can mean long car rides, tantrums and endless sewing of sequins. Yet the pros far outweigh the cons, and the skills and discipline learned through competing can be carried on to other aspects of the dancer’s life, making them a more focussed and mature adult. Personally, some of the fondest memories of my childhood involve ballet competitions. I formed great friendships, developed an affinity for the smell of backstage, learned to be organized and to perform even when nervous. Importantly, I learned the spirit of sportsmanship. It wasn’t about winning; it was about performing on stage in front of an audience, having fun and being friendly with fellow competitors.

If you’ve ever seen an episode of the television show Dance Moms, you will be forgiven for thinking that competitions are cut throat events that involve screaming teachers and complaining mothers. While that may happen from time to time, it’s important to find a ballet teacher who is encouraging and selects students for competition who are able to handle the pressure and are up to standard. Competitions are not the be all and end all of ballet training. If a teacher is putting too much emphasis on competition and neglecting the technique and enjoyment aspects, then consider trying other ballet schools.

For older dance students, ballet competitions can mean scholarships to prestigious schools, prize money or even job prospects. While bringing home a medal or wad of cash is fantastic, the greatest benefit of competing can be the connections dancers make to ballet companies and their peers. Competitions are reshaping the way dancers audition for companies. Rather than attending multiple auditions at what is often a great financial expense, major ballet competitions are used by ballet company directors to source new recruits. Directors can see the dancers both in class and on stage, something they cannot do in a regular studio audition. USA’s International Ballet Competition (IBC) is basically an audition for attending company and school directors. According to Stanton Welch, who is currently Houston Ballet’s Artistic Director, competitions augment the audition process and are a great way for directors to shop for talent.

Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

The Prix de Lausanne, one of the world’s greatest ballet competitions for pre-professional dancers now schedules networking into the program. An afternoon is set aside for schools to set up booths to talk with potential new students, so dancers don’t have to be a prize winner to be awarded a scholarship or offered a place in a training programme.

For dance students of any age, it is important to keep expectations realistic. Judging is subjective, and things can go wrong on stage. No matter how much dancers rehearse, they still may fall out of a pirouette or fluff their balance in arabesque, and no matter how well they perform, they still may be beaten at judging time. It is important to value the quality of the learning experience and the performance itself over the number of medals or prizes won. Students can return to class after competitions with inflated egos after winning or become overanxious about their dancing if they aren’t as successful as they hoped. Some dancers receive scholarships and job offers after being eliminated from competitions, which is far more beneficial in the long run than a medallion or prize money. Both dance students and parents, as well as teachers, need to keep things in perspective and not focus on a gold medal.

For dancers in a ballet company, their career is going to consist of constant auditions, so the practice early on is extremely beneficial. Every time a visiting choreographer comes in to watch company class and cast for their next work, they will be auditioning for them. The competition doesn’t end once a dancer gets a contract with a company.

Most local competitions allow entry through an application form. Some may request a photo or video. The bigger competitions will require dancers to attend an audition class or series of elimination rounds, and international competitions will first need to see an audition video.

DO:

• Speak to your ballet teacher about local competitions and check Dance Informa’s listings for upcoming opportunities.
• Do your research. Visit the website of the competition and carefully read the entry form and guidelines.
• Make sure you are eligible. There are often age restrictions and sometimes even syllabus restrictions.
• Pick a routine or variation that compliments your abilities. Don’t do something that is too difficult for you.  It’s better to do a simple routine well than fumble through a tricky number.
• Make the most of every experience. Listen to the judges and teachers and apply their feedback.
• Enjoy the experience! You’re on stage in front of a supportive audience.
• Talk to as many people as possible.
• Have a make-up kit that you take with you to every competition. Include needle and thread, resin, hairspray, hairpins and spare tights.
• Be prepared! Rehearse, practice in your costume, test out the stage before you go on, get plenty of rest, and fuel your body.
• Have a back up copy of your music.
• Remember that people are not only watching your dancing, but also the way you behave. Be professional, attentive and courteous.

DON’T

• Give up!  The more competitions you do, the more confident you will become.
• Let your nerves get the better of you. What is the worst that can happen?
• Be negative or critical of others.
• Put anything extra on your application form or audition DVD. Follow the guidelines.

Remember that the process is the prize. Here is a listing of various ballet competitions around the world:

-  www.rad.org.uk

-  www.prixdelausanne.org

-   www.ballet.org.au

-   www.jjgp.jp

-   www.yagp.org

-   www.usaibc.com

-   http://moscowballetcompetition.com

-   www.bda.edu.cn

-   www.theamericandancecompetition.com

-   www.concorsointernazionaledanza.it

-   www.wbcorlando.com

-   www.danceuponadream.com

Photo (top): Promotional image from dance documentary First Position about the Youth America Grand Prix - a must see dance film.

By Grace Edwards.

‘Success is sweeter and sweeter if long delayed’ is a saying that will find no argument from 18 year-old Sydney native and new Houston Ballet apprentice, Joel Woellner. Though he chose not to compete the first time he qualified for the semi-finals, Woeller’s patience has been ultimately vindicated after winning two prizes at this year’s Prix de Lausanne.

Over 250 hopefuls aged between 15 and 18 years old submitted DVDs to this year’s Prix, from which 20 competitors made it to the final round. Woellner was the only student from an American ballet school [Houston Ballet Ben Stevenson Academy] to win a prize. Ranking sixth overall out of 78 international competitors, he was awarded not only a scholarship but the competition’s contemporary prize.

Congratulations on your success Joel! How would you describe what you were feeling when you heard that that you had won two prizes?

Surprised, yet a huge amount of satisfaction! Having had such a vigorous training schedule, putting so much energy into Prix, then having it rewarded, is one of the best things I have felt. But even if I hadn’t placed, just being on stage at the finals of Prix de Lausanne is a moment in my life that I’ll never forget.

How did you prepare for the Prix?

The first time I was accepted [for the 2012 competition], Houston Ballet decided to hold me back for a year, so I didn’t go. This time though, I started my training for the Prix as soon as I heard that I was accepted. My teachers had agreed on my variation, so I went to YouTube to learn the choreography and to draw inspiration from the videos of professional dancers who had done it in the past. Once I’d learnt the steps to the variation I began visualizing myself in costume on the stage of Prix de Lausanne.

I was then given rehearsal time with one of the Houston Ballet teachers, Andrew Murphy. Together we set the steps to music and slowly began to correct the variation. A few weeks later we were running the variation through and working very hard on perfecting every step. Mr. Murphy is well-known for running variations multiple times to build stamina and I was not an exception. After each rehearsal my legs were on fire, my lungs burning and my heart about to pump out of my chest. In each rehearsal, however, I visualised myself onstage dancing the variation perfectly.

I found that once I had gotten to Prix, dancing my variation on stage was easier because I had already been onstage in my mind. For me visualising is essential and a great tool that gives me confidence.

How did you select and prepare your contemporary solo?

I first saw my contemporary solo on the website of the Prix de Lausanne and instantly fell in love. The combination of the music, and the fluid and effortless movements of it captured my attention. I really love to tell a story through movement and emotion and I knew this solo was going to let me do that.

I started rehearsals with my contemporary teacher, Pricilla Murphy. Her coaching was incredible! She taught me how to articulate my movements, as well as to keep a strong centre. Throughout my rehearsals with her I learnt so much about my body and how to dance in a truly contemporary style.

Joel Woellner performing his contemporary solo at Prix de Lausanne 2013. Photo by Gregory Batardon

The day before I left for Switzerland a showing was put on in the studio theater at Houston Ballet. The company members, the artistic staff and the Artistic Director were invited to watch, so many people came. This experience was a ‘dress rehearsal’ of what the Prix was going to be like. I was very nervous but I was well prepared so the performance went smoothly and the experience gave me so much confidence. I felt very self-assured afterwards and I knew that Prix was going to go well.

What do you think the judges were looking for most in their potential Prix prize winners?

I think the judges are looking firstly at the dancers’ technique and physique — can they dance steps confidently and do they physically look the part on stage? I also think they look at whether or not a particular dancer can survive in a professional environment.

From the small amount of company life that I have witnessed, I have noticed that the ability to learn and apply corrections to choreography is crucial. Someone that can take on board what a choreographer or artistic director is asking will always succeed. Having rehearsals with the choreographers of the contemporary solos represents a chance to showcase and improve upon this ability.

How have your wins affected your training goals?

Being a scholarship winner allows me to receive an apprentice contract with an associate company of the Prix de Lausanne. I’m proud to say that I have been offered and have accepted an apprentice contract with Houston Ballet. However, I know I’m not the ‘finished product’ as a dancer. Being a part of the company and dancing beside so many amazing artists will push me even more. I aim to work as hard as I can so that one day I may be as good as the people I’m dancing next to.

Prior to the Prix, you had also competed at the YAGP in 2010, at which you were offered and accepted a Houston Ballet II full scholarship. Do you think international competitions are important to a dancer’s development?

It’s clear that international competitions provide exposure and the chance to be offered places in professional schools. International competitions also allowed me to compare my abilities with the rest of my age group around the world.

That year [at the YAGP], I didn’t make the finals. I remember being disappointed, but I have always looked at this experience as a positive and I really think that’s how all competitions should be viewed. I knew that I wasn’t yet up to scratch with the rest of my age group so I was determined to make sure that I was.

For me, competitions are what started my professional career.

Without whom do you believe you might not have made it this far?

I decided that being a professional ballet dancer was what I wanted to do with my life around the time I started high school, so I moved dance schools and started taking ballet classes with Jo Ansell and Kim Traynor [at Ettinghausens Dynamic Arts, Sydney, Australia]. Both took an immediate interest in my career. Their wisdom and knowledge helped me to improve my technique and choose the best path for my career. Ms. Jo and Ms. Traynor have been so influential in my career, and I want to thank them for their dedication and the hard work they have put into me. I truly believe that I would not be where I am today without their help.

What advice would you give young dancers who want to compete in the Prix?

The advice I would give is: Number one, absorb everything you can from the week. Every correction the teachers and coaches give you is invaluable. Stay in contact with every friend you make because the ballet world is so small that at some point down the road you are likely to bump into them again.

Number two, try not to think of the Prix de Lausanne as a competition and get hung up on whether you make the finals or not. Instead, look at the week as a way of enhancing your abilities technically and artistically.

Photo (top): Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

By Laura Di Orio.

Ballet has been around since the Italian Renaissance courts of the 15^th century. It has shifted and molded according to history and the different cultures and people who have embraced the art form, and its traditions continue to be taught and learned all over the world. Over the centuries of ballet’s worldwide travels, several different schools, or methods, have been established, each one with its own notable characteristics and stylistic differences. Here, Dance Informa looks at several of those schools of ballet and what sets each apart.

The French School

From Italy, ballet spread to the French courts during the time of Louis XIV, in the 17^th century. Seeing as the majority of the ballet vocabulary is in French, this shows that this time in history was very important in the development of the art form. The French School of ballet training stresses cleanness, fluidity and elegance. As the focus of this technique is on great speed and quantity of steps, the music is played more slowly.

Famed dancer Rudolf Nureyev, who also directed the Paris Opera Ballet, played a major role in defining and leading the French School of ballet. During the time of his leadership at Paris Opera Ballet, Nureyev also choreographed alternate versions of such classic ballets as La Bayadère, Swan Lake, Romeo and Juliet, Raymonda, Cinderella and Sleeping Beauty.

Bournonville Method

The Bournonville ballet technique was devised by Dane August Bournonville, who trained with his father, Antoine, and other French ballet masters. He was strongly influenced by the French School of ballet. Some characteristics of the Bournonville method include: a graceful épaulement, with the upper body often twisting toward the working leg; a lowered eye-line to exude kindness; extreme attention to the placement of the arms (often in a preparatory fifth position); quick footwork; a contrast between the speed of the legs and the grace of the upper body; pirouettes in a low leg position; and little visible effort.

Dancers such as Erik Bruhn, Nikolaj Hübbe and Johan Kobborg were trained in the Bournonville method, and the Royal Danish Ballet, which originated in 1748 and was once directed by Bournonville, still contains many Bournonville ballets in its current repertoire.

Vaganova Method

Agrippian Vaganova, a Russian ballet dancer born in 1879, devised her own method of teaching ballet, now known as Vaganova technique. A dancer with the Marinsky Ballet, Vaganova retired early in her career, in 1916, to focus on her teaching. Qualities in the Vaganova method include expressiveness of port de bras, where all parts of the arm (from hand to elbow to shoulder) are important; extreme flexibility, but in an artful way; and a mobile lower back. Dancers trained in this technique are taught to be strong and clean, without stiffness.

Some of the greatest dancers, including Anna Pavlova, Natalia Makarova, Nureyev and Mikhail Baryshnikov, were trained through Vaganova’s pedagogy. Vaganova believed in precision within the teacher’s instruction, and the Vaganova Ballet Academy continues to have high demands for its students.

Cecchetti Method

The Cecchetti method of ballet technique was formed by Enrico Cecchetti, an Italian ballet master. Its focus lies mainly in anatomy, and the hope for those studying the method is that they learn to dance by internalizing rather than just imitating. Qualities of the Cecchetti method include: balance, poise, line, strength, elevation, elasticity, musicality, artistry, clarity and purity.

The Cecchetti training system has levels from beginner to professional, and during this progression new movements are only added once other movements have been mastered and refined. The hope within this training system is that dancers become well-rounded and versatile.

Royal Academy of Dance

The Royal Academy of Dance (RAD), an international dance examination board, was established in London, England, in 1920. Its method of ballet is known as the English style and is a merging of Italian, French, Danish and Russian methods. RAD’s focus is on attention to detail when learning ballet’s basic technique. As a result, progression from level to level in this method is slow, as difficult steps are only taught once a maximum level of technique is achieved.

The RAD offers two training programs for students: the Graded Examination Syllabus, which consists of 10 levels and incorporates classical ballet, free movement and character dance; and the Vocational Graded Syllabus, a more demanding, ballet-focused path designed for older children and young adults who desire a career in professional dance.

Balanchine Method

A more recent ballet style in the history of ballet is the Balanchine method, a style invented by choreographer George Balanchine and one most widely used in the United States. Dancers trained in the Balanchine method are taught to utilize more space in less time, which results in increased speed, height and length. Characteristics of this style include: extreme speed, a deep plié, an emphasis on line, en dehors pirouettes taken from a lunge in fourth position with a straight back leg and an athletic dance quality.

Balanchine leaned toward a more neoclassical style, with a focus more on the dance and less on a plot. Today, the Balanchine method is taught at the School of American Ballet, the official school of New York City Ballet, as well as at the schools of Miami City Ballet and Pennsylvania Ballet, among others.

Top photo: © Andrew Ross | Dreamstime.com

Misty Copeland, cover model for Discount Dance Supply, talks about life as a professional ballerina.

By Katherine Moore

Established in 1978 and currently under the direction of Chan Han Goh, the former Prima Ballerina of the National Ballet of Canada, the Goh Ballet Academy is one of the premier dance institutions in Vancouver for ballet. With wide-ranging educational programming and performances, Goh Ballet plays an integral part in Vancouver’s dance scene, as well as in the international ballet community.

Not only does Goh Ballet provide high-caliber, classical ballet training for ages 4 and up, but they also offer educational outreach classes and performances throughout the Vancouver area. These programs help educate and create a solid, family-oriented audience for Goh Ballet’s biggest production of the year, The Nutcracker, which they just presented during the Christmas season.

Artistic Director Goh said, “The Nutcracker is a family-oriented production; we aim to make the show appealing to the whole family. The show is full of classical ballet for dance enthusiasts, heart-warming comedy and acting, and delightful costumes and scenery, so this production really suits all ages.”

Goh Ballet Academy's "The Nutcracker" 2011

In addition to being family-friendly, Goh’s production of The Nutracker is both professional and collaborative. Using over 200 performers of all ages, Goh brings together ballet dancers, gymnasts, magicians, acrobats, ballroom dancers, and even untrained people to create a magical performance with full sets, costumes, and lighting.

This past production, Goh Ballet brought guest dancers Michele Wiles and Corey Stearns from ABT into the mix. Goh felt fortunate to have principal dancers from New York City in their production.

“They bring top-class performance to our stage and inspire our entire performance team, ” she said.

Goh Ballet’s commitment to professionalism and cultural exchange does not end with The Nutcracker. It extends throughout the year with the training of young ballet students, especially through their comprehensive 4-week International Summer Intensive.

Every summer, Goh Ballet attracts diverse students from all over the world, including the USA, China, Japan, and Brazil, in addition to local students in Vancouver and other parts of Canada. While the program focuses primarily on classical ballet technique and partnering, Goh Ballet also believes it is important for dance students to gain exposure to other dance and movement forms, such as contemporary, musical theater, and pilates, in order to succeed in the dance world.

Similarly, Goh Ballet brings in an internationally-renowned faculty to teach during the intensive, making it an alluring program to young dancers. Emily Grace Simpson, a former participant of the summer intensive, said that this, in conjunction with the variety of dance styles taught, was instrumental in her decision to attend the intensive.

“[The] teachers are sought after around the world, and many of them are dancers that students look up to and admire. This inspires young dancers to keep going until they are able to achieve their own dreams,” Simpson said.

Students’ dreams are clearly at the forefront of Goh Ballet’s mission as they educate students in their Academy and the Goh Ballet Youth Company, which just returned from a tour in China. International exposure is a crucial element to a Goh Ballet professional education, and Goh even encourages students to do international exchanges in other programs to gain this experience.

“Our goal is to give students the tools and knowledge to become the best dancers they can be,” said Goh.
 
For students and audiences alike, Goh Ballet supports classical ballet at its best: high-caliber dance performance and training within a culturally-enriched, global community.

Photos: David Cooper Photography, courtesy of the Goh Ballet.