Training

Let's Hear It for the Boys: Why More Schools Are Offering Men's Training Programs

ADrian Durham in CPYB's production of "The Legend of Sleepy Hollow." Photo by Rosalie O'Connor, Courtesy CPYB.

As a teenager, Adrian Durham studied at his local ballet school in Lake Charles, Louisiana. "I was one of three or four guys training there, and there were no male teachers," says Durham. "Most of my partnering experience came from rehearsals for performances." But after he began training with the male scholarship program at Central Pennsylvania Youth Ballet in 2014, he experienced a sea change. "It challenged me mentally, physically and emotionally, because it's such an intense program," he says. Now 20, he is preparing for a professional career with an integrated set of tools: ballet technique, physical strength and partnering skills.

Men's ballet technique classes have been available for decades, especially at summer intensives and urban ballet schools. Yet programs designed specifically for male dancers, often offering full scholarships, have been rarer—until now, that is. Training that allows boys to separately explore their skills, above and beyond a supplement of double tours en l'air and pirouettes à la seconde at the conclusion of a mixed class, can literally give young men a leg up as they aspire towards a dance career.



Why the Need?

To work professionally, young men have to demonstrate a full range of technical skills, especially in jumping and turning and through a firm grasp of styles and partnering. "Today, boys are expected to be much more flexible and physically fit than they were 20 years ago," says Peter Stark, who joined the Boston Ballet School faculty in 2015 to shape a comprehensive men's program, in which 72 percent of students are on scholarship. Simon Ball, who directs the men's program at CPYB, agrees. "You're not exceptional if you can do a double tour from fifth to fifth," he says. "That's the bare minimum."


Simon Ball instructing CPYB student Braden Hart. Photo by Rosalie O'Connor, Courtesy CPYB.


For smaller schools and companies, initiating a men's ballet program also helps to recruit boys and educate communities. Nick Mullikin, the director of the School of Nashville Ballet, saw a shortage of boys in his school, mostly due to the stigma of young men studying ballet. In response, he launched a young men's scholarship program last August that currently serves 40 male students, ages 6 to 18. Boys receive a year of free training; subsequent scholarships are merit-based. "Coed classes sometimes put boys in a ratio of 20 to 1," says Mullikin. "It's great when there are other boys in class; it helps to build a sense of teamwork. It's important for young men to have that kind of support."

In addition, getting proper training during the early teen years is crucial. "At the onset of puberty, which is when girls are going on pointe—that's when it's nice to separate the boys out," says Stark, so that both groups have time to pursue specialized training. In his experience, Ball has seen that boys can succeed in their teens, but acknowledges that the path is generally easier at a younger age to ingrain the focus, discipline and muscle memory.


What's Different?

Men's programs, often led by male teachers with professional experience, offer more specialized training. Even barre exercises often need to be adapted. "I think it's really essential for men to get down into the floor for their preparations and jumps," says Ball, who emphasizes the full value of the plié and the push required to spring off the floor in his classes. He also frequently gives combinations that move side to side to help students feel their backs and coordinate their jumps, rather than move in pieces.

Partnering proficiency doesn't manifest magically, so constant practice through weekly adagio classes is necessary to prepare men to work professionally. Many programs also implement cross-training to develop upper-body strength and stamina. CPYB two-year male scholarship boys go to a gym twice a week to work with a trainer for core and upper-body strength, while Nashville Ballet and Boston Ballet schools work exercises into class. "We do a lot of gym exercises—planks, push-ups and sit-ups, stretching, and running up and down stairs," says Stark. "Some boys are tighter but stronger, and some are super-flexible but not as strong," so a mindful approach to each student is crucial.


Students of Nashville Ballet School. Photo by Karyn Photography, Courtesy Nashville Ballet.


Male Camaraderie

For a student whose only experience is his hometown school, entering into a new arena of competition can be challenging. Yet most find being in a class of other boys a positive, and it helps diminish the myth that ballet is only for girls. "The teachers encourage you to compare yourself to other dancers in a healthy way: If this person can do it, there's no reason you can't do it," says Durham. "Being around a group of guys working toward the same thing gives you confidence and is very motivating."

Another unexpected benefit: The discipline, concentration and focus often expand beyond the walls of the studio. "When the boys get together multiple times a week, you see technical improvement, but we've also seen the changes in their behavior," says Mullikin. "We've heard from parents that their academic performance in school is better."

Ball recalls that as a young dancer, he trained with "a handful of men, none my own age." Now, he says, "I walk into the studio and I continually have to pinch myself because there are 20 to 30 men in the room. I'm so happy with the way things have progressed."


BONUS TIPS

Are You the Only Guy in Your Class?

If you don't have access to a men's program, there are things you can do to progress in your hometown studio:

1. Study videos that show excellent male dancing in performances, classes and rehearsals. "As a kid I had three videos: Baryshnikov's Don Q and Nutcracker, and New York City Ballet's The Magic Flute with Ib Andersen," says Simon Ball, director of Central Pennsylvania Youth Ballet's men's program and a former principal with Houston Ballet. "I watched them over and over again."

2. In your early teens, begin an upper-body strengthening routine, preferably with the help of a professional. Back injuries among young male dancers are common. Core work can begin earlier.

3. Request that your instructor address the differences in men's and women's technique, such as male-specific jumps and turns and adjusting tempos during allégro combinations, in class.

4. Ask your local studio to host a guest male instructor who has a background in men's training.

5. Try to see male dancers in live ballet performances as often as possible. "Anything you can do to see male dancers perform keeps you motivated and gives you something to work towards," says CPYB student Adrian Durham. —JC

popular
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.

popular

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.

Keep reading... Show less
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.

Summer Study Advice
Thinkstock.

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.

Keep reading... Show less
Career
Thinkstock

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

Keep reading... Show less
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!

Keep reading... Show less
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.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get Pointe Magazine in your inbox

Sponsored

Win It!