Patricia Zhou remembers hearing her coach’s encouraging voice in her head as she competed at the Beijing International Ballet Invitational in 2010. Now in the corps of Staatsballett Berlin, Zhou says the days Viktor Kabaniaev spent coaching her ranked among the most productive of her training. “He made me practice my entrelacé diagonal over and over to get me to jump more and really kick the front leg. Even when I was tired!” she says. “That made me so much stronger.” Most importantly, Kabaniaev gave Zhou confidence. “I’d never gone to competitions thinking I had to win. But he pushed me, and had me believing in myself—and believing I could place.” Their work together paid off: Zhou left Beijing with a silver medal.

It takes more than dazzling technique to succeed at top competitions. You also need a superb coach. “Your coach is there to be your eyes, your cheerleader and your guide,” says Evelyn Hart, who coaches dancers in Toronto. The best coaches will help you improve your weak spots—and polish aspects of your dancing you didn’t even realize needed work. But finding the right match takes some searching.
 
What to Look For

Good coaches will fine-tune everything: the technical, the artistic and the stylistic details. “Avoid anyone who just runs the variation repeatedly without digging deeper,” says Edward Ellison, a New York teacher who has successfully coached dancers. “Each section of choreography should be carefully dissected, exploring how each individual part of the anatomy contributes to the whole.” Contact dancers who worked with the coach in the past to ask how supportive they felt the coach was, if he or she helped find solutions to the dancer’s problems, and assisted with practical details like costumes, makeup, hairstyle and music.

But to find a good coach for you, take stock of your personal weaknesses. Do you need to refine your interpretation or work on your upper body? Find someone whose dancers show those strengths. Check out online videos of a coach’s past competition winners to see if their style resonates with you. Look at their repertoire, how they accent the movement, and their costume choices.

Lastly, look for a coach who’s been through the competition you’re going to. You want an insider in your corner: someone who will know the level of talent, and understand the psychological pressure. “A coach who’s been before will know the politics of a competition,” Hart says. “It’s stressful: There might be very limited space and time, you might have to rehearse on stage at 3 a.m.—how do you handle that?” A good coach will guide you through it.

What to Ask
Talk frankly about your goals and expectations with a potential coach. What is the time frame? Will he or she come with you to the competition? What will the financial arrangements be? Determine if you will be paying the coach a flat fee or an hourly rate. The best coaches typically command up to $200 an hour, says Hart, and you may need to consider the costs of renting a studio, too. “Don’t be afraid to ask hard questions,” Ellison advises. “Get them to speak honestly about what you need to do to meet your goals, as well as your chances of succeeding.”

How to Know If It’s a Good Match

If you’ve found someone, take a few classes with them to see how you work together, suggests Youth America Grand Prix co-founder Larissa Saveliev (who often offers coach recommendations to YAGP participants). “Find somebody who’s good for you, not just good in general,” she says. “Don’t pick a coach who has a completely different style from what you’re used to.”

Look for a personality you respond to, whether that’s bubbly or demanding. And find an artistic vision you trust. “A coach will do as much as he or she can to help you prepare, but if you don’t have complete and utter willingness to take their advice, there’s only so far you can go,” says Hart. “They have to be the person you believe will take you to the best place.”





New USA IBC Head

Former Miami City Ballet artistic director Edward Villella (who was recently given the American Academy of Arts and Letters’ Award for Distinguished Service in the Arts) will lead the USA International Ballet Competition jury in 2014. He’s taking over from Bruce Marks, who led for two decades. As the American sister of the prestigious IBCs in Varna and Moscow, the Jackson competition is one of the oldest and most respected in the country. Top companies attend to scout dancers, and a USA IBC credit on a resumé is an impressive mark of distinction. ?Organizers are currently accepting applications.
Competition dates: June 14–29, 2014
Application deadline: November 15, 2013
Ages: Juniors, 15–18 years old; seniors, 19–26 years old
Held: Once every four years
Competitors accepted: Approximately 100 dancers
Jury: 13 members, with no more than one representative from any country
Awards: Gold, silver and bronze medals, cash prizes up to $15,000 and scholarships. Companies in attendance often offer one-season contracts and apprenticeships.
Past medalists: Isaac Hernández, Melissa Hough, Misa Kuranaga, Sarah Lamb, Sarah Lane, Daniil Simkin
Feedback: Although jury scores are not released, eliminated competitors are offered a private evaluation session to review the judges’ written comments and suggestions.
Website: usaibc.com



Technique Tip:
?“Your balance is like a baby’s mobile: All the pieces spin together smoothly and surely, but precariously at the same time—because with even a gentle touch, they can all go shaking in different directions. My mother doesn’t have a background in ballet, but one day she explained that to me, and it clicked!” —Tulsa Ballet principal Youhee Son





























LADP's Rachelle Rafailedes leading a workout. Photo by Studio 6, Courtesy Sunshine Sachs.

If your usual workouts are feeling stale, Benjamin Millepied's L.A. Dance Project might be able to help. The contemporary ballet troupe recently launched an online exercise platform that puts its stars in your living room.

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Training
Video still by Nel Shelby Productions, Courtesy Dancio.

"What if you could learn from the world's best dance teachers in your living room?" This is the question that Dancio poses on their website. Dancio is a new startup that offers full length videos of ballet classes taught by master teachers. As founder Caitlin Trainor puts it, "these superstar teachers can be available to students everywhere for the cost of a cup of coffee."

For Trainor, a choreographer and the artistic director of Trainor Dance, the idea for Dancio came from a sense of frustration relatable to many dancers; feeling like they need to warm up properly before rehearsals, but not always having the time, energy or funds to get to dance class. One day while searching the internet for a quick online class, Trainor was shocked to not be able to find anything that, as she puts it, "hit the mark in terms of relevance and quality. I thought to myself, how does this not exist?" she says. "We have the Daily Burn for Fitness, YogaGlo for yogis, Netflix for entertainment and nothing for dancers! But then I thought, I can make this!" And thus, Dancio (the name is a combination of dance and video), was born.


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New York City Ballet in "George Balanchine's The Nutcracker." Photo by Paul Kolnik, Courtesy Lincoln Center.

Nutcracker season is upon us, with productions popping up in on stages in big cities and small towns around the country. But this year you can catch New York City Ballet's famous version on the silver screen, too. Lincoln Center at the Movies and Screen Vision Media are presenting a limited engagement of NYCB's George Balanchine's The Nutcracker at select cinemas nationwide starting December 2. It stars Ashley Bouder as Dewdrop and Megan Fairchild and Joaquin De Luz as the Sugarplum Fairy and Cavalier.

While nothing beats seeing a live performance (the company's theatrical Nutcracker run opens Friday), the big screen will no doubt magnify some of this production's most breathtaking effects: the Christmas tree that grows to an impressive 40 feet, Marie's magical spinning bed, and the stunning, swirling snow scene. Click here to find a participating movie theater near you—then, go grab some popcorn.

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Artists of Pennsylvania Ballet rehearsing for "The Sleeping Beauty" for the 2017/18 season. Photo by Arian Molina Soca, Courtesy Pennsylvania Ballet.

Today the Pennsylvania Ballet's board of trustees announced the appointment of Shelly Power as its new executive director. Having been involved in the five-month international search, company artistic director Angel Corella said in a statement released by PAB that he's "certain Shelly is the best candidate to lead the administrative team that supports the artistic vision of the company." Power's official transition will begin in February. This news comes at the end of a few years of turmoil and turnover at PAB, including the departure of former executive director David Gray in June.

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Pointe Stars
Tiler Peck with Andrew Veyette in "Allegro Brillante." Photo by Paul Kolnik, Courtesy New York City Ballet.

"I was particularly excited when I saw my name on casting for Allegro Brillante in 2009," remembers principal dancer Tiler Peck. "Balanchine had said Allegro was, 'everything I know about classical ballet in 13 minutes,' and of course that terrified me." To calm her fear, Peck followed her regular process for debuts: begin by going back to the original performers to get an idea of the quality and feeling of the ballet and ballerina. "It is never to imitate, but rather to surround myself with as much knowledge from the past as I can so that I can find my own way," says Peck.

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Pittsburgh Ballet Theatre's 'The Nutcracker.' Photo by Rich Sofranko

Catching a performance of The Nutcracker has long been a holiday tradition for many families. And now, more and more companies are adding sensory-friendly elements to specific shows in an effort to make the classic ballet inclusive to children and adults with special needs.

While the accommodations vary depending on the company, many are presenting shorter versions of the ballet with more relaxed theater rules. Additionally, lower sound and stage light levels during the performance, as well as trained staff on hand, make The Nutcracker more accessible for those on the autism spectrum and others with special needs.

Pittsburgh Ballet Theatre's performance will take place on Tuesday, December 26th, and they are one of the pioneer companies in presenting sensory-friendly performances of The Nutcracker (their first production was in 2013). PBT has also offered sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast in the past.

See our list of sensory-friendly performances, and check out each site for all of the details regarding their offerings.

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Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

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