Pittsburgh Ballet Theatre corps member Caitlin Peabody was dancing famously at her small variety-dance school in Derry, New Hampshire, as a young student. She had so much potential that her instructor encouraged her to audition for Boston Ballet’s summer intensive, and she was accepted. Months earlier, she had starred as Cinderella in her school’s production. But when she reached Boston, the competition was such that she was placed into the program’s lowest level. “I was not where I should have been for my age,” Peabody says.    

Perhaps you’ve had a great year at your studio. When you rehearse your variation for The Nutcracker, the younger ones sit cross-legged on the floor watching in awe, and you feel the tiniest air of jealousy from your peers. But being at the top of your class back home won’t exactly help you improve. For many hometown heroes, assessing the competition at a large summer program can be a bitter reality check. Rather than grow discouraged, here’s how to use the experience as an opportunity for growth.

Focus on Your Goals, Not Your Level
It’s hard not to size up your place in the pecking order once your summer intensive’s level placement is posted. A lower-than-expected level can feel like a death sentence, while a higher placement can leave you struggling in a room of dancers you can’t stack up to. But these decisions are thoughtfully made. “Sometimes I place dancers in a lower level because I want them to be at the top of their class,” says Sharon Story, dean of the Atlanta Ballet Centre for Dance Education. “Especially if they seem very shy and withdrawn, but their technique is very good. Other times I want them to be at the bottom of the class because they need to be pushed.”


Wherever you land, you have to believe it is where you are meant to be and move forward with confidence. “If someone is going to succeed in this profession they have to have belief that they will meet the demands necessary,” says Orlando Ballet School director Dierdre Miles Burger. She advises her students to not get caught up with what they can’t do but use it as inspiration to work hard. “While you are at the summer program, keep a journal,” says Burger. “Write down corrections that are not only given to you, but given to others as well, and keep a list of goals to work towards.”
 

Competition Is Good for You
Peabody, whose studio back home was more recreational, remembers being profoundly impressed by her classmates’ intensity during her first summer in Boston. “Some of the girls would have a look on their faces every day like the world would end if they weren’t perfect in adagio,” she recalls. “I just didn’t get it.”

“In a summer intensive, you see the ones who have to dance—the ones who ask questions and improve,” says Pacific Northwest Ballet School faculty member Marjorie Thompson. “And then there are the ones who sit in the hall and have a headache and don’t dance.” Being surrounded by more professionally minded dancers can be an eye-opening opportunity to assess and improve upon your own levels of motivation and discipline.
Story says that while it’s beneficial to watch other dancers and observe how they nail those triple pirouettes, don’t waste your time on constant comparisons that will kill your confidence. She tells her students to “put their blinders on” and focus on their own journey. The culmination of your efforts is greater than each individual day, so don’t expect leaps and bounds when true advancement is inch by inch.

Story also notes that dancers who face challenges with a “determination that is fierce, focused and unrelenting, with a positive ‘can do’ attitude,” can reach higher levels of achievement. “They become some of the most interesting artists that I have seen,” she says. By applying these qualities to your own work, Story says, you can turn your challenges into attributes.
    
Think Long Term
Even if you are not among the favorites at your summer program, don’t throw in the towel. Keep in mind that at this point in your training, your dancing and physicality can and will change rapidly. Instead, use your experience to evaluate your own training regimen.


Once you return home (and back to the top of your class), Burger recommends referring back to your notebook for inspiration—especially if you feel you’re losing momentum. “Many students improve in the summer because there are more classes offered,” says Burger. She suggests taking additional classes at home, even if they’re in a lower level, to continue pushing yourself.

A challenging summer experience may ultimately teach you that you need a more competitive atmosphere to advance. Peabody and her mother realized halfway through her intensive that she had gone as far as she could go at her local studio. Rather than feeling discouraged about her summer level placement, Peabody auditioned for Boston Ballet’s year-round program and was accepted. While she was originally placed with students two years younger than her, she progressed quickly, eventually receiving a contract with Boston Ballet II before joining PBT (where she frequently dances soloist and principal roles). “The underdog,” says Story, “makes it more than you think.”


Opportunity Is Knocking: Apply to YoungArts
Gillian Murphy. Desmond Richardson. Callie Manning. What do these three great dancers have in common? As teenagers, they were all YoungArts winners. The National YoungArts Foundation is now accepting applications from students in the performing, literary and visual arts for a chance to win scholarships and monetary awards, as well as attend regional YoungArts workshops and receive national recognition (an impressive credential on resumés and college applications). Applicants must be between ages 15 and 18 (or between grades 10 and 12) and be either a U.S. citizen or have a student visa.

Winners are selected through a blind adjudication process. In addition, a select group of finalists will be invited to attend the National YoungArts Week in Miami, where they will have the opportunity to perform, attend master classes with teachers like Richardson, Lourdes Lopez and Philip Neal, and attend interdisciplinary workshops with other artists. Finalists who are high school seniors may also be nominated to be a U.S. Presidential Scholar in the Arts, the most prestigious national honor for graduating artists. Applications are available online at youngarts.org/apply and are due October 16. —Amy Brandt

 

Technique Tip: Push Your Boundaries
“One image that has really stuck with me (and the one that I pass on to all of my students) is the idea of dancing as if you were Leonardo da Vinci’s Vitruvian Man. It’s had a huge influence on the way I dance by helping me to concretely ‘fill the space’ with my movement. When you dance as if every part of your body has energy expanding outward—touching something like the nearest wall, or your own personal circle—you can really fill the stage no matter how simple or complicated your movement.” —Courtney Connor Jones, Cincinnati Ballet

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

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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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Lopez in Circus Polka. Photo by Alexander Iziliaev, Courtesy MCB.

When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."

But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.

Keep reading at dancemagazine.com.

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Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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Summer Study Advice
The author at 13, rehearsing at her home studio, Ballet Arts Theater, in Endicott, NY. Courtesy McGuire.

This story originally appeared in the December 2010/January 2011 issue of Pointe.

As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.

I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.

My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.

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