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 “Especially if they seem very shy and withdrawn, but their technique is very good.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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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 also offers sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast throughout the year.

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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Pointe Stars

At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


Pointe Stars
Ingrid Silva and her dog, Frida Kahlo. Photo by Nathan Sayers for Pointe.

You're probably already following your favorite dancers on Instagram, but did you know that you can follow many of their dogs, too? We rounded up some of our favorite dog-centered accounts and hashtags to keep you pawsitively entertained (sorry, we can't help ourselves).

Cora and Maya (American Ballet Theatre's Sarah Lane and Luis Ribagorda)

Sarah Lane and Luis Ribagorda's pups Cora and Maya update their profile pretty frequently. Often accompanying Lane to the ABT studios, they can also be seen using tutus or piles of pink tights as dog beds.

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Pointe Stars
Vladislav Lantritov and Ekaterina Krysanova in "Taming of the Shrew." Photo by Alice Blangero, Courtesy Bolshoi Ballet.

If you haven't checked your local movie listings yet for this weekend, hop to it. The Bolshoi Ballet in Cinema series and Fathom Events is broadcasting a performance of Jean-Christophe Maillot's The Taming of the Shrew to theaters nationwide on Sunday, November 19. (To see if it's playing near you and to purchase tickets, click here.) While the rest of the Bolshoi's cinema season features 19th- and 20th-century classics, The Taming of the Shrew gives audiences a chance to see the revered Moscow company in a thoroughly modern, 21st-century take on Shakespeare's famous play.

Aside from a limited run in New York City this July, American audiences have had little exposure to Maillot's 2014 production. To learn more, check out these two exclusive, behind-the-scenes webisodes below. Principal dancer Ekaterina Krysanova, who stars as the hotheaded Katharina, gives an intimate play-by-play of two major scenes in Act I. The first is her fiery rejection of three potential suitors (who all would prefer to marry Katharina's younger sister Bianca).

The second scene breaks down Katharina's first encounter with Petruchio (danced by the larger-than-life Vladislav Lantritov), the only man who seems to be able to challenge her. Here, too, we see the shrew's heart start to soften. (Don't miss her time-stopping attitude turn at 4:27.)

The Bolshoi Ballet in Cinema Series continues through June; for more details on upcoming screenings, click here.

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Smuin Ballet dancers Erica Felsch, Rex Wheeler, Mengjun Chen and Tessa Barbour in "White Christmas," choreographed by dancers Ben Needham-Wood and Michael Smuin. Photo by Keith Sutter, Courtesy Smuin Ballet.

Nutcracker-ed out? Or just can't get enough holiday ballets? These unique Nutcracker interpretations and non-Nutcracker productions will make your season bright.


The Hip Hop Nutcracker

Through December 30

Tchaikovsky's masterful Nutcracker score isn't just for classical ballet…

Hip Hop + a live DJ + an electric violinist unite in The Hip Hop Nutcracker, currently touring the U.S.

Familiar characters such Drosselmeyer, the Nutcracker, Mouse King and Marie (here called Maria-Clara) dance through an updated New York City storyline with choreography by Jennifer Weber, artistic director of the Brooklyn-based theatrical hip hop company Decadancetheatre.

Premiered in 2014, The Hip Hop Nutcracker is produced by New Jersey Performing Arts Center.

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