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Click here to send it to Suzanne Farrell Ballet dancer Amy Brandt.


I am very self-conscious about my breast size, to the point where I always wear a T-shirt over my leotard. All the other girls at my studio are flat-chested. Any advice? —Britanny
Don’t feel embarrassed—if you look closely, you’ll find plenty of successful dancers who have bigger busts. You just need to learn how to work with it. Richmond Ballet’s Maggie Small, for instance, has tailored her leotard wardrobe to ensure adequate coverage and support. She avoids low-back camisoles, opting for shelf-lined zippered turtleneck and racer-back styles that allow her to wear a sports bra discreetly underneath. “There are a lot of form-fitting workout clothes, such as Under Armour, that fit like a leotard, too,” she says. Try revamping your wardrobe so you feel more comfortable.

But most importantly, be proud of your curves—I’d be willing to guess that your pancake-flat classmates are a little envious of you! Small, for one, doesn’t let her bustline bother her. “Learn to accept what you look like,” she says. “It’s one part of your whole package.”


I recently found out that my left hip is slightly higher than my right. Is this bad? What should I do to make sure it doesn’t affect my alignment? —Beth
Off-kilter hips may be a signal that one of your legs is longer than the other. According to Laura L. Ossowski, MSPT, a New York City physical therapist who works with dancers, leg-length discrepancies fall into two categories: functional and true. With a functional discrepancy, the leg bones are the same length, but the hips are misaligned due to postural habit. “For instance, a past foot or ankle injury will affect how you make contact with the ground,” says Ossowski. “You’re not at your most stable, so you compensate elsewhere.” A true leg-length discrepancy means exactly that: Your leg bones are literally not the same length. This discrepancy can manifest itself during puberty, especially if you suffered an injury during a growth spurt.  

You’re right to feel concerned about your alignment. “A centimeter off is fine for the general public, but for a dancer, that’s huge,” says Ossowski. She recommends you seek treatment from a physical therapist to identify the cause of your hiked hip and help correct it. Depending on the diagnosis, your therapist can offer a specific exercise program to help you strengthen your core and other problem areas. “Whether it’s true or functional, you will be compensating—and compensation leads to inefficient movement, and that leads to injury.”


My dream is to be in a professional ballet company. I’m 17 and not sure where to start. Should I send out audition DVDs, look for second companies or consider traineeships? —Michaela
First, assess whether you’re technically and emotionally ready to enter the professional world—it’s competitive out there, and you’ll be held to higher standards. Since you lack experience, focus on auditioning for traineeships and second company positions—both serve as transitional periods between student and professional life. Traineeships tend to focus more heavily on classes and may require tuition, while second companies often pay a stipend. But keep an open mind: Many companies only offer one or the other. Check out our trainee listing on page 69, and scour company websites for additional info.

Ask yourself what type of company you’re most interested in (Balanchine? Contemporary? Mixed repertoire?) to narrow your focus. Determine whether directors look for dancers at open calls or during their school’s summer program (that’s how I got my start at the Milwaukee Ballet). Try not to limit yourself—if you can go to an audition, go!

If you’re not able to attend, send a DVD, cover letter, resumé, headshot and dance photos. Take some time preparing these—you don’t need to spend a fortune, but go the extra mile (clean video editing, higher-grade paper, writing free of spelling and grammatical errors) to show you are serious and professional. Keep your DVD to 10 minutes max. In addition to hard copies, post a version online and include the link on your resumé. Finally, follow up! Companies are often swamped with audition materials—no response could just mean that they haven’t gotten around to looking at yours yet.

Ballet Careers
Sisters Isabella Shaker and Alexandra Pullen. Photo Courtesy Alexandra Pullen.

This is the second in a series of articles this month about ballet siblings.

My mom was in the corps de ballet at American Ballet Theatre. A generation later, so was I. As if that's not enough for one family, my younger sister Isabella Shaker dreams of following in our dancing footsteps. Her endeavor, and her status as somewhat of a child prodigy, stirs feelings of pride and apprehension within me, since I have lived through the ups and downs of this intense yet rewarding career.

Ballet will always be my first love and the thing that brings me the most joy, and my dance career has opened endless opportunities for me. However, it's a difficult career path that requires a lifelong dedication. It's super competitive and can lead to body image issues, physical injury and stress. Most dancers will face some of these problems; I definitely dealt with all three.

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Ballet Stars
Photo by Gabriel Davalos, Courtesy Valdés

For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.

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Ballet Stars
Photo by Jayme Thornton

It's National Bullying Prevention Month—and Houston Ballet breakout star Harper Watters is exactly the advocate young dancers facing bullying need. Watters is no novice when it comes to slaying on social media, but his Bullying Prevention Month collaboration with Teen Vogue and Instagram is him at his most raw, speaking about his own experiences with bullies, and how his love of dance helped him to overcome adversity. Watters even penned an incredible op-ed for Teen Vogue's website, where he talks candidly about growing up queer. Catch his amazing anti-bullying video here—and, as Watters says, "Stay fabulous, stay flawless, stay flexible, but most importantly, stay fearless."

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News
Alicia Alonso with Igor Youskevitch. Sedge Leblang, Courtesy Dance Magazine Archives.

Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"

At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.

Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.

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