When San Francisco Ballet corps de ballet member Elizabeth Powell was a student, summer intensives were her way to explore the ballet world. Each July, she ventured out in search of new experiences. She attended Boston Ballet School, the School of American Ballet, Chautauqua Ballet and eventually San Francisco Ballet School—which ended up taking her year-round and later offering a company contract. Powell loved gaining new perspectives on her training and glimpses of life as a professional. “You have to learn so much so quickly because summer programs are only a few weeks,” she says. “That’s exactly what you do in a company—you get a few weeks to learn a new ballet.”

An intensive can offer unrivaled opportunities. With the right focus, you can radically transform your technique. Or, like Powell, you could find your future job. But that all depends on how much you put into the program. Unlike at home, where you’re surrounded by a network of support, you are the only person in charge of how your summer goes.

List Your Goals

In addition to a packing list, write down everything you want to accomplish this summer. What weaknesses do you need to address? Think back to why you selected the program you’re attending. Perhaps you’re trying to master a new style, or want to strengthen your feet by wearing pointe shoes during technique class. If you clearly define your expectations, you’ll be more likely to see concrete improvement. Bring the list with you and refer back to it periodically—and let yourself modify it if your goals change. It will refocus you whenever you get distracted by a bad rehearsal or a noisy roommate.

Attract Attention

In every class there’s a student the teacher loves—and she’s not always the most talented. Usually, this dancer is simply rewarding to work with. Teachers instinctively focus their attention where they feel they’ll make the most impact. Marjorie Grundvig, codirector of Pittsburgh Ballet Theatre School, says she gravitates toward students who are “motivated, focused and who pick up combinations and the corrections associated with them quickly.” This means every correction—not just those directed at you. When a teacher does correct you, accept the advice and try not to get frustrated. “Even if you’re struggling, show a desire to achieve and ask questions,” advises Grundvig. Thoughtful questions indicate that you’re engaged and willing to work. Don’t be afraid to approach a teacher after class for one-on-one advice.

Speak Up for What You Want

No one can read your mind. If you’re interested in staying year-round, say so. A good first stop is the office administrator: He or she will be able to tell you the school’s policy. You may need to make an appointment with the director, or put your name on a sign-up sheet. Seek out this information as soon as possible so the faculty has time to seriously consider you.

Don’t Sweat Level Placement

Stewing over the level you’re placed in doesn’t help you improve; it simply wastes time. Often, levels have more to do with grouping students who need to work on the same things, and less with who’s better than whom. “It’s not about age, or where dancers are in their regular school,” says Lynne Short, principal of the Ballet Austin Academy, “but what we feel they need to work on.” Most schools will adjust placement if it’s clear they’ve made a mistake. But if they don’t, trust their judgment and dive into the work, soaking up what your classes have to offer. It’s the only way you’ll be moved up next year.

Follow the Rules

It happens every summer: Someone misses curfew, or cuts a class, or does any number of irresponsible things. “A lot of kids get sent home, some on the very first day,” laments Short. The freedom of being on your own in a new city can be seductive. But behavior outside the studio counts more than you might think—no director wants to hire a troublemaker. Don’t let temptation tarnish your reputation.

Be Up Front About Injuries

Teachers always prefer to know about anything injured so they can help you work through it. If you don’t speak up for fear of appearing weak, you’re simply presenting yourself as a lesser dancer. Don’t tough it out—you could prolong your recovery time, or even cause long-term physical damage.


The dancers you meet this summer could become lifelong friends. But they will definitely be resources. Your peers can offer invaluable insights about other schools and companies. Ask them what they love and hate about where they train. Share stories about the best performances you’ve seen. Just don’t lose focus. “Friends should be a great part of summer, but you can’t let the social aspect take over from your sole purpose of being there to dance,” says Grundvig.

Keep a Journal

Take a few minutes every night to chronicle the technical and artistic problems that came up that day—and their solutions. New teachers offer new advice. By writing it down you’ll absorb the information better. A journal doubles as a record of your progress. When you flip through it two weeks later, are you seeing the same correction repeatedly?

Learn From Your Competition

“Take advantage of observing the dancers you like,” says Grundvig. It’s easy to resent the girl who has it all, but don’t waste your time being jealous. Instead, ask yourself what makes that dancer so good. Analyze her movement, then apply what you learn to your own dancing.

Take Alternative Classes Seriously

Every class offering at your program is there to benefit your training. With repertoires growing more diverse every year, other genres offer an opportunity to prepare for company life—and to show off what you have to offer. You never know who will happen to be paying attention while you’re working on Graham contractions.

Get Noticed

Use this opportunity to open doors for your career. “You don’t want to be pushy, but you should get yourself out there and noticed,” says Powell. In a room full of promising dancers, no one is going to seek you out—it’s your responsibility to make your talent known. Stand in front for at least a few combinations every class to demonstrate confidence in your dancing. Be aware of the messages you are sending from head to toe. Avoid leotards with awkward shapes or multiple colors that distract from your line. Keep your hair neat. And while it may sound cheesy, remember to smile. Directors don’t hire sullen-looking technicians; they hire performers.


Training Opportunities:

Top of the Class

Imagine learning from Paris Opéra Ballet, American Ballet Theatre and Maryinsky Ballet principals all in the same place. That’s precisely the premise of the International Ballet Masterclasses in Prague. The workshop, organized by English National Ballet senior principal Daria Klimentová, draws advanced students from around the world to study with a renowned faculty plucked from the highest ranks of top ballet companies.

Teachers: ABT’s Herman Cornejo, POB’s Nicolas Le Riche and Clairemarie Osta, the Maryinsky’s Daria Pavlenko, former Nederlands Dans Theater dancer Natasa Novotná, Hungarian National Ballet artistic director Tamás Solymosi and choreographer Christopher Hampson, among others.

Daily Schedule: One 90-minute ballet class, followed by a “virtuosity” class, and a rotation of pas de deux, contemporary and repertoire

Session One: August 6–11, 2012

Session Two: August 13–18, 2012

Levels: Candidates must be at the professional or semi-professional level, and at least 16 years old.

Enrollment: About 100 dancers per session

Location: National Theatre in Prague, Czech Republic

Application Deadline: July 6, 2012

Cost: $1,300 per session or $2200 for the whole program (including accommodations)

Website: balletmasterclass.com

Take a European Look-See

Want to dip a toe into Europe’s contemporary dance scene? You can explore the continent and advance your technique at the Trinity Laban Conservatoire of Music and Dance in London. The school’s one-year independent study program allows students to curate a curriculum that best advances their professional goals. Choose from technique classes in Cunningham, Graham, Limón, classical ballet, release techniques and jazz, as well as choreography, Pilates, dance history and sound scores for dance. With no compulsory components, students can earn up to 120 credits by taking the classes they’re most interested in at a pace that suits their timetable. See trinitylaban.ac.uk.

Dance With the Stars, Under the Stars

The Vail International Dance Festival brings top dance talent to Colorado every summer. In addition to the popular star-studded performances at its outdoor amphitheater, the festival also hosts a series of lesser-known offstage events. Advanced and intermediate dancers are invited to take master classes in everything from tap to tango—and ballet. Last year, New York City Ballet’s Daniel Ulbricht taught a class. You can also dance alongside artistic director Damian Woetzel and festival artists during the program’s

interactive Dancing In The Streets nights, where anyone can join the dancers in Vail Village. The 2012 program runs July 29 to August 11. See vaildance.org.

An Extra Week of Summer

No matter how long their summer intensive runs, many dancers still want more. Take an extra week to brush up on your Italian style this August with Cecchetti USA’s one-week program, which features guest teacher Evelyn Cisneros-Legate, a former principal dancer with San Francisco Ballet who now heads Boston Ballet School’s Marblehead location. Dancers don’t need to be familiar with the Cecchetti method to attend, but must have at least three years of ballet training.

Dates: August 5–11, 2012

Registration Deadline: June 1, 2012

Location: University of California, Santa Barbara

Classes: Cecchetti technique, pointe, variations, pas de deux, evening lectures

Tuition: $575, plus $395 for room and board

Website: cecchettiusa.org/summer-school

Technique Tip:

“Never doubt yourself when you’re executing a step. Whether you’re onstage alone, next to a huge star or in the corps de ballet, if you convince yourself that you’re a prima ballerina, your movement will take on the confidence of one.”

Melissa Hamilton, The Royal Ballet

Andrew Peasgood and Constance Devernay in "The Fairy's Kiss." Photo by Andy Ross, courtesy Scottish Ballet.

From now through January 15, Pointe is streaming Scottish Ballet in Sir Kenneth MacMillan's Le Baiser de la Fée (The Fairy's Kiss). This one-act ballet, based on the Hans Christian Andersen fairy tale "The Ice Maiden," was choreographed for The Royal Ballet in 1960. For more on the ballet's history and for behind-the-scenes footage, click here.


The Lullaby in the Storm
A mother with her child struggles through the storm. The Fairy with her attendants appears and pursues her. The Fairy separates the mother from her child. Passing villagers find the body of the mother, now dead, and guided by the Fairy, they find the child. The Fairy kisses him on the forehead. The villagers become frightened and taking the child with them, they run away.

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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via YouTube

It's finally the weekend, and we're celebrating the best way we know how—a new ballet video. Juliet Doherty (who trained with San Francisco Ballet and Master Ballet Academy, and is set to star in the dance film, On Pointe), teamed up with Cartoon Network for her latest project.

"Cartoon Network contacted me about their show, Steven Universe, which was coming out with a new vinyl album of the soundtrack of the show," Doherty shared with Pointe. "They told me about one of the show's main characters named, Pearl, who is a strong-willed character but has the grace inspired by a ballerina."

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Mr. Jeremy FIsher, from Sir Frederick Ashton's "The Tales of Beatrix Potter."

Animal roles might not typically be what dancers dream of performing…but they're oh-so-fun to watch. You can't help falling under their spell (and perhaps aspiring to dance one someday). Here's a round-up of some of our favorite furry and feathered roles.

Bunny Hop

Run. Dance in a circle. Pretend to be a rabbit. It might sound like a creative movement combo, but don't let that fool you. The role of Peter Rabbit in Sir Frederick Ashton's The Tales of Beatrix Potter requires fierce technique—not to mention the ability to project personality while wearing an animal head and fur suit.

Four-Legged Interlude

Who do you turn to for halftime entertainment during a quartet of fairy variations? Dancing lizards, mice and a frog of course! This charming quintet of creatures light up the stage in David Bintley's Cinderella.

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Your Career
Photo Courtesy Barry Kerollis.

I was probably about 15 years old when the director of my local dance school, seeing my drive and ambition, asked me to work as a teaching assistant for one of the main ballet instructors. She asked to meet with me to discuss the details of my new job. She explained what my role was in the studio, expectations of me in the position and more. But as we approached the end of my meeting, I wasn't expecting the conversation to take the serious turn that it did.

"Now, Barry, I need you to be very, very careful about how you work with these young girls. Kids are sensitive and, especially considering that you are a man, if you correct them in a way that can be viewed as sexual by either a student or a parent, even if you didn't do anything, you could be jeopardizing your future as a teacher and in this field." The look on my face must have been utter shock; the prospect of losing my job or getting sued over sharing my artform had never crossed my mind. This forever changed my perspective on being a dance educator, and I still find myself overly cautious about the way that I work with my students today.

Unless you've been hiding underneath a holiday blanket, it has become abundantly clear that we are undergoing a massive cultural shift here in the States. It started in the entertainment industry, then shifted to major corporations. Sexual misconduct in the form of harassment and assault that had been swept under the rug for years is bubbling to the surface. Things began to boil quite quickly, and those interested in our performing-arts world were speculating that something was going to be brought up in our tight-knit community, especially considering the hands-on approach that teachers have with students, dancers have with other dancers and artistic staff has while coaching employees. I had to sit on my own hands for over a month, after I was given a heads-up that a major news publication was working on an exposé about Peter Martins and his many alleged abuses (which had been quietly circulating around our dance community for years).

Keep reading at dance-teacher.com.

Your Career
Erica Lall and Shaakir Muhammad in class at American Ballet Theatre's 2013 New York Summer Intensive. Photo by Rosalie O'Connor, Courtesy ABT.

This story originally appeared in the December 2013/January 2014 issue of Pointe.

When Pacific Northwest Ballet School student Madison Abeo was accepted into San Francisco Ballet School's summer session on a partial scholarship, she was thrilled. But then she added up the remaining cost for the program and realized she didn't have the funds. “I really wanted to go," she says, “but we just couldn't make the other half of it work."

Ballet training is expensive. For many families, a trip to a dream summer intensive simply isn't in the budget. SFB was $2,500 out of Abeo's reach. But she was determined. At the suggestion of her aunt, Abeo created a Facebook fan page where she asked for opportunities to babysit or perform odd jobs, and included a link to a PayPal account where friends and family could make donations. Two local dancewear businesses, Vala Dancewear and Class Act Tutu, offered to outfit her for fundraising photos, which a photographer took for her Facebook page for free. By June, Abeo had raised enough for tuition—plus plenty of pointe shoes.

Affording your dream intensive isn't as difficult as you might think. There are a surprising number of eager dance supporters out there. Case in point: On Kickstarter, dance projects have the highest success rate of any type of campaign, with dancers receiving over $4 million in donations through the site since it began. You can also apply for need- or merit-based grants and scholarships, either through your summer program or an outside foundation. Most dancers who want it badly enough can make it happen.

Madison Abeo with other Pacific Northwest Ballet School students in the 2013 School Performance of an excerpt from "Serenade," choreography by George Balanchine. Photo by Rex Tranter, Courtesy Abeo.

Take Your Cause to the (Online) Streets

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Your Career
In class at the Bolshoi Ballet Academy summer intensive. Photo by Gene Schiavone, Courtesy Russian American Foundation.

When Complexions Contemporary Ballet's summer intensive program director Meg Paul auditions students for its Detroit intensive, there's one thing that catches her eye for all the wrong reasons. "It's a real pet peeve of mine when a dancer keeps shifting her eyes to me during a phrase," she says. "It tells me that she's not fully invested in the movement, that she's more interested in being watched than in embodying the choreography."

Every summer intensive director has their own list of audition deal-breakers, but there are a handful of universal turnoffs to avoid. "Yes, we want the most talented students, but when talent is paired with a bad attitude or improper etiquette, it gives us pause," Paul says. While certain behaviors may seem minor, they can make all the difference when it comes time for scholarship offers or even acceptance decisions.

DEAL BREAKER #1: Not Presenting Yourself Professionally

An audition is a first impression, and you want to look your best. This begins with researching the specific intensive's audition requirements. "Our audition has a dress code, and we expect dancers to respect that," says Rina Kirshner, director of the Russian American Foundation's Bolshoi Ballet Academy programs. "We want dancers to stand out through hard work and talent, not brightly colored leotards or flowers in their hair."

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