Training

Thinking About Full-Time Training Programs? 6 Key Discussions to Have First.

Francisco Estevez, Courtesy Colorado Ballet.

If you think a full-time pre-professional program might be right for you, it's never too early to start talking about the big transition. Deciding to forgo a "normal" high school experience for the chance to take your training to the next level is life-changing, and it's vital to have in-depth discussions with your family. Here's a checklist of topics to bring up—before the auditions begin.


1. What are my professional goals?

At the very least, you should feel sure that you want a professional dance career. But beyond tutus and dreams, it's important to understand what this means on a day-to-day level: the daily grind of technique classes and physical therapy, all-consuming workdays, and the endless pursuit of artistry and perfection. "I find a lot of students haven't done enough research on what a professional life is about—what it really means," says Denise Bolstad, managing director of Pacific Northwest Ballet School.

In addition, think about what kind of company you want to join and which schools can facilitate that. What's your favorite repertoire? Are you interested in a large company or a smaller one? For instance, Miami City Ballet corps member Ellen Grocki knew she loved Balanchine, so she researched schools where she'd gain extensive training in the style. She eventually left her home in Maryland at 16 to study at MCB School.


Summer intensive students at Pacific Northwest Ballet School. Photo by Angela Sterling, Courtesy PNB.


But if you're not sure exactly where and what you want to dance yet, it's not the end of the world. "When our students come in at 14, they have dreams of being the next Makarova," says Michael Owen, director of dance at Walnut Hill School for the Arts, a boarding arts high school in Natick, Massachusetts. "Then, in the years they're here, a lot changes for them—their eyes open up to other styles of movement."

Valerie Madonia, academy director at Colorado Ballet Academy, agrees: "As you grow and mature, your options will become more apparent, as far as which companies suit you, or whether in the end you decide to go to a college dance program."


2. How do we evaluate a school's quality of training?

A school's prestigious reputation doesn't always mean it will be best for you. Your top priority when researching pre-professional programs, says Bolstad, should be finding the best quality of training that your family can manage, location and budget-wise. Look at schools' curriculums (usually available on the website), and ask peers and teachers for recommendations. Attend summer intensives, if possible—and the sooner, the better. "Your investment in a school needs to start earlier than 17 or 18," says Bolstad. "Audition for at least one summer course, so you have a sense of what an organization is like." An intensive can be a good "trial run" to find what feels right. If going to one isn't possible, consider visiting for a few days during the academic year.

Additionally, ask the school about its track record of placing students in companies and college dance programs—and, specifically, which ones. "Do they only feed into their company, or do they feed into others around the world?" says Madonia. "Do the students come out versatile and ready to apply to many different programs?" It's a strong testament to the quality of the program—and the hire-ability of its graduates—if its dancers succeed in a variety of settings.


Valerie Madonia teaching pre-professional students at the Colorado Ballet Academy. Photo by Francesco Estevez, Courtesy Colorado Ballet.


3. Should I wait until after high school to train full-time?

This question depends on the quality of your current training. "It's very individual," says Bolstad. In many cases, dancers "have a slight advantage if they've left sooner, before graduating high school."

But if you have solid training at your home studio and choose the normal high school route, it's not too late. Most trainee programs and second companies accept recent high school graduates. "Times have changed in the last 20 years," says Madonia. "We're also seeing more wonderful college programs, and seeing students going from college into second companies, into companies." Owen agrees: "Now, it's not unheard of for dancers who are 21, 22 or 23 to get into companies for the first time."



Photo courtesy Walnut Hill School for the Arts


4. If not, what do I do about my education?

Most dancers who train full-time during high school either continue their education online or through flexible classroom options. At MCB School, Grocki took classes at a high school across the street from the studio each morning before heading into her 10 am technique class. At performing arts high schools like Walnut Hill, academics are built into the daily schedule.

Online programs require a certain personality type for a student to be successful. You'll need to be driven, organized, time-efficient and okay working alone on a computer for hours each day. "I've seen some students excel without a problem and others who struggle with time management," says Madonia.


5. What are the housing options?

There are three basic housing setups in most boarding programs: dormitories, host families or, for the most independent dancers, unsupervised apartments. One of the reasons Grocki chose MCB School was that there were dorms across the street from the studio. She lived there her first year; by her second, her mom felt comfortable letting her move into an unsupervised apartment with fellow dancers.

For those who want more of a family experience, or if dorms aren't available, many programs will house you with a host family who already has a connection to the school and can provide meals, transportation and emotional support. Keep in mind that some schools, like PNB, do not offer supervised housing, in which case dancers rent apartments (usually with roommates).


Photo courtesy Walnut Hill School for the Arts.


6. How will we pay for this?

Ballet tuition, let alone housing and living expenses, is costly, and it's important for dancers to understand how heavily this factor may weigh on their parents. Merit-based scholarships are the most coveted form of financial aid, but also the hardest to come by. For Grocki, a half merit scholarship was a huge factor in making her dream possible. Need-based financial aid is usually more readily available, but be aware that the application deadlines may fall early in the summer, before you receive the invitation to study. Independent scholarships and grants through organizations like the National YoungArts Foundation can help pay tuition costs.

Some schools may offer work-study opportunities, while other times, dancers find outside work to help offset living expenses. At Colorado Ballet Academy, students often pick up babysitting jobs for parents of other students or even their dance teachers.

If your family can make it work, the investment in your training is well worth it. "This is a once-in-a-lifetime opportunity to be accepted and study in a major national school," says Bolstad. "I don't think anyone ever regrets it."

Gianna Reisen in rehearsal with NYCB corps de ballet dancer Ghaleb Kayali. Photo by Erin Baiano, Courtesy NYCB.

This Thursday marks New York City Ballet's annual Fall Gala. Spearheaded by actress and NYCB board member Sarah Jessica Parker, this glamorous event unites the worlds of ballet and fashion by partnering choreographers with top designers to collaborate on new works. This year, alongside premieres by NYCB company members/choreographers Lauren Lovette, Justin Peck and Troy Schumacher, 18-year old School of American Ballet alumna Gianna Reisen will present her first work for the stage at Lincoln Center's David H. Koch Theater.

NYCB Ballet Master in Chief Peter Martins noticed Reisen's work at SAB's Student Choreography Workshop and invited her to create a piece for The New York Choreographic Institute in 2016 before offering her the Fall Gala commission. This opportunity came as part of a whirlwind year for Reisen; after finishing her studies at SAB she was offered an apprenticeship at Dresden Semperoper Ballett late last spring. Reisen spent only three weeks getting settled in Germany before returning to NYC in late August to start rehearsals for the gala.

We caught up with Reisen to hear what it's been like to work alongside such high-caliber artists and to get the inside scoop on her premiere.

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Francesca Velicu in Pina Bausch's Le Sacre du printemps by English National Ballet. Photo by Laurent Liotardo, Courtesy ENB.

There was total silence by the end of English National Ballet's first go at Pina Bausch's raw Rite of Spring, and much of the performance's success came down to a tiny dancer: Francesca Velicu. Handpicked to be The Chosen One, the Romanian corps member threw herself into the role with an innocence that made the ritual newly terrifying. "It brought me the most intense and emotional moments that I'll ever experience onstage," she says.

At just 19, Velicu is already walking in the footsteps of ballet's reigning Romanian star, her ENB colleague Alina Cojocaru. Born in Bucharest, Velicu earned top finishes at Youth America Grand Prix and completed her training at the Bolshoi Ballet Academy. In 2015, she joined the Romanian National Ballet under Johan Kobborg, who fast-tracked her: In one season, she danced Kitri, Theme and Variations and numerous soloist roles, honing her effervescent technique with breezy confidence.

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Alana Griffith in "La Sylphide." Photo by Mark Frohna, Courtesy Milwaukee Ballet/

Rising lazily from an armchair, shrugging her shoulders and limply snapping her arms side to side, Alana Griffith imbued the title role in Septime Webre's ALICE (in wonderland) with the unmistakable boredom and longing of youth. Throughout the performance, her ability to bring personal depth to both the character and to Webre's challenging choreography revealed a special dancer coming into her own as an artist.


Alana Griffith in "ALICE (in wonderland)". Photo by Mark Frohna, Courtesy Milwaukee Ballet.

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While ballet may feel female-dominated in that there are plenty of onstage opportunities for women, key behind-the-scenes roles like choreographer and artistic director are still largely held by men—a point that is increasingly being raised and questioned in the dance world thanks to female choreographers like Crystal Pite and Charlotte Edmonds. Also helping to break that mold is rising female choreographer Kristen McNally, who not only choreographed a recent duet for CNN Style, but also paired two women to bring it to life.

In the short film, which features McNally's choreo and is directed by Andrew Margetson, Royal Ballet first soloist Beatriz Stix-Brunell and principal Yasmine Naghdi changed the expectations on gender roles in ballet—and the end result is awesome. Nearly identical in appearance, the dancers' movements and lines also mirror each other throughout the piece, even when dancing in canon. Even more impressively, McNally told CNN Style, "The dancers and I did two rehearsals and then we shot the film."

Check out the full duet for yourself, below.


Training
Photo by Lambtron, via Wikimedia Commons

Can you superglue your vamp? I am new to pointe and don't know where to apply it. —Amanda

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Tan, who was awarded a permanent contract with San Francisco Ballet after performing this role as a guest artist in 1995, is a youthful but commanding presence. Her extensions crawl right up to her ear, and she rises from deep lunges en pointe to arabesque without ever seeming to get tired. After an endless series of promenades (4:00), Tan again lunges low to the floor and then teasingly runs away from Diaz, inviting him to follow her. In her variation, she oozes gypsy spunk, enticing the audience with dramatic details. She takes the variation at a quick pace, blending each movement smoothly into the next.

Diaz, who was a soloist with SFB and is now a ballet master for the company, shines in his own right. The adagio reveals his partnering prowess. From 2:15—2:35, Diaz supports Tan almost continuously in a string of carries and lifts–and his variation is chock full of bravura. All the way through the coda, the technical fireworks in this pas de deux never stop coming. We can't get enough! Happy #ThrowbackThursday!

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Tanaquil Le Clercq at the 1967 book signing. Reprinted with permission from Dance Magazine.

Ballerina Tanaquil Le Clercq may have been known for her long-limbed dancing and versatile grace, but it turns out that her renown didn't end there. In 1967 the former New York City Ballet star published The Ballet Cook Book, a mix of ballet history, food stories and the pièce de résistance: recipes collected from over 90 famous NYCB dancers and choreographers including George Balanchine (her then husband), Jacques d'Amboise, Melissa Hayden and Allegra Kent.

Why bring this up now? This year marks the 50th anniversary of her book's publication, and in celebration, food scholar Meryl Rosofsky is curating a program exploring the context of the book. Held on November 5 and 6 at the Guggenheim Museum, the program will include live performance excerpts with roles originated by Ballet Cook Book contributors including Balanchine's The Four Temperaments, Bugaku, Stars and Stripes and Western Symphony as well as a panel conversation with d'Amboise and Kent (both of whom were at the original book signing) and current NYCB principals Jared Angle and Adrian Danchig-Waring, both talented cooks.That certainly seems like plenty of excitement to us, but attendees can also stop into the Guggneheim's Wright Restaurant to taste select dishes from The Ballet Cook Book including Le Clercq's Chicken Vermouth, Balanchine's Slow Beet Borschok, Hayden's Potato Latkes and Kent's Walnut Apple Cake.

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