Studio Review Chart

         If you’ve read my introduction you may remember that my IP (independent project) has been a great stimulus for the creation of my blog. The following table is dedicated specifically to my project, as it breaks down five different ballet studios I’ve attended on Oahu. My hope is that someone perhaps looking to find that perfect fit of a studio will stumble across my blog and find the information I’ve provided useful. The reasons for creating a table rather than a series of short summaries are to limit the amount of bias and personal opinion from my experience, and to make the information simple to read and reference.

       I do feel it important to mention that each of these studios I have attended are wonderful in their own ways. It’s all about finding the right studio that fits you, and that studio may change as you change as a dancer; that’s okay. If you’re ever curious about these studios and their classes, then I highly encourage you to take a drop-in class or two. It is truly incredible how much you will notice just by taking a single class, and quite frankly, it’s really simple to tell whether or not the studio fits you and your needs. You know yourself the best, so the studio you choose to attend is purely your decision. My only advice is to pick a studio with great people (it makes a huge difference just trust me), an incredible instructor (there are many out there), and somewhere that’s both encouraging and fun, but challenging.

***Based upon drop-in adult beginner/intermediate classes***

The Six Methods of Classical Ballet

         "Success depends in a very large measure upon individual initiative and exertion, and cannot be achieved except by a dint of hard work."

- Anna Pavlova

          After curiosity struck me, I decided to do a little research on the basic ballet techniques and styles used throughout the world. What I discovered were six different techniques, which are believed to constitute the basis of ballet.

            While these six styles all have unique characteristics of their own, I know from my own experience at various ballet studios, that most companies do not strictly adhere to a single method. Instead, a combination from multiple styles is often used within each class, creating a normalcy, if you will, of what can easily be thought of as a technique of its own; a mish mash of the most commonly used skills pulled from a variety of styles.

            Before we delve deeper into each method, I feel it important to note that the styles and techniques I am about to list pertain to the Russian, French, Danish, Italian, British, and American styles, which have originated over centuries with the evolution of dance.

Vaganova Method (Russian)

Agrippina Vaganova teaching in Russia

http://balletuni.com/course/faqs/

            A Russian ballerina and teacher, Agrippina Vaganova, developed the Vaganova method, and in 1934, published an instructional system called the “Basic Principles of Classical Ballet,” which concentrated on the details of teaching instructions, from when to teach, how long, and how much. Her style combined French and Russian styles of dance and put great emphasis on developing lower back strength, arm plasticity, flexibility, and endurance. The Vaganova method strives to create clean lines and movements, but with a gentleness, which encourages dancers to move their entire body harmoniously.

There are eight levels of training with the beginning levels focusing on the styling of the shoulders and body along with stability and strength of the back. Vaganova dancers tend to have high jumps and strong turns assisted by the use of the arms, and because many movements require being air born for as long as possible, to give the illusion of floating, great flexibility and extension is necessary, along with a strong torso. The Vaganova method is unusual in the placement of the hands and fingers, as it encourages apparent movement of the hands. The thumb should be near the middle finger, and the pointer and ring finger raised slightly. Mikhail Baryshnikov is known to be a Vaganova dancer. Because the Vaganova method is so technical, injuries aren’t as common.

Cecchetti Method (Italian)

 Enrico Cecchetti teaching Anna Pavlova in Paris 1920

http://en.wikipedia.org/wiki/Enrico_Cecchetti

            The Italian ballet master, Enrico Cecchetti, created the Cecchetti method. The primary goal of this method is for students to learn dance not by simply imitating the instructor’s movements, but by studying and internalizing the basic elements. Cecchetti also stressed quality over quantity, for he felt it was more important to do an exercise once correctly instead of multiple times incorrectly. Each exercise is balanced on both sides, with one side done one week and the other side done the next. Just as in the Vaganova method, Cecchetti dancers are taught to think of movement of each body part in relation to the entire body in order to create grace. The Cecchetti method is one of the main techniques of classical ballet and centers on fast footwork, clean lines, smooth transitions, natural turnout, and the flowing of arms from one position to the next. This method also has a thorough vocabulary with about forty adagios (slow dances/movements) and eight port de bras (movement of the arms.)

Ecole Fancaise (French)

http://images.frompo.com/i/nureyev-dancing

            A French dancer and choreographer, Rudolf Nureyev, created the Ecole Francaise method. Nureyev directed the Paris Opera Ballet and choreographed alternative versions of classic ballets including La Bayadere, Swan Lake, Romeo and Juliet, Cinderella, and Sleeping Beauty. Because his artistic direction was so strong, he formed and named a new generation of young principles called the Nureyev Babies. The Ecole Francaise method focuses on precision and elegance, and is known for its clean, sophisticated style stressing soft and graceful movements. Unlike other methods, Ecole Francaise focuses more on the fluidity and grace of the dancers rather than perfect technique. This style of ballet consists of extremely fast steps in order to give the illusion of drifting effortlessly on stage, and because of the romantic style, the music is often played more slowly than other methods.

Bournonville (Danish)

http://artsalive.ca/en/dan/meet/bios/artistDetail.asp?artistID=30

            The Bournonville method was created by a Danish dancer and choreographer by the name of August Bournonville. Living in the Romantic era, Bournonville believed a ballet should tell a love story, and that the male and female dancers should share equal importance. Unlike many other methods, the Bournonville method encourages dancers to display a balanced human nature rather than extreme feelings.

           Influenced by the early French school of ballet, the Bournonville method has preserved the technique of 19^th century French ballet. The main principle of this method is for dancers to “perform with a natural grace, dramatic impact and harmony between body and music.” An interesting aspect of this method is the way the eyes are lowered and naturally follow the moving leg as to create the impression of kindness rather than arrogance. Great detail is placed in the shape and placement of the arms, which are held in front of the body.

Bournonville’s choreography consists of quick footwork with no visible effort by the dancer. The speed of the legs should not effect the effortless, elegance of the arms and torso, for “the legs are the rhythm, the arms are the melody.” The Bournonville method requires basic arm movements and a lifted torso, along with a romantic poise and grace. Many movements both begin and end in fifth position and pirouettes (turns) are done with a foot in low develope (extended leg) position as a result of the long skirts that were worn during the time.

Royal Academy of Dance (English)

http://en.wikipedia.org/wiki/Royal_Academy_of_Dance

            Established in Long, England in 1920, the Royal Academy of Dance (RAD) is an international dance board that specializes in classical ballet. It is one of the youngest styles of dance and is often referred to as the English Style. This method was formed by combining the various techniques from Italian, French, Danish, and Russian styles and pays a great deal of attention to detail. The progression of difficulty in this method is often very slow, for it is believed “if enough time is spent achieving optimal technique before introducing new vocabulary, the easier it is for the student to learn the harder stoeps, whilst exercising basic technique to the maximum.” The Royal Academy of Dance is a very serious method for very dedicated dancers.

Balanchine (American)

http://www.balanchine.org/balanchine/01/bio2.html

            The Balanchine method was developed by choreographer George Balanchine, who was a graduate of the Vaganova Ballet Academy. This method of dance consists of rapid movements, very deep plié (bending), unorthodox positioning of the arms and hands, and a great emphasis on lines. Pirouettes (turns) are done with a straight back leg rather than a bent leg, and an extended front arm. Another distinctive feature is the arabesque, which allows the dancer’s hip to open towards the audience with the back arm placed back to create the illusion of a longer and higher line. The goal of the illusions is to make dancers look like they are “utilizing more space in less time.” Balanchine dancers must be exceptionally flexible and athletic, and injuries can easily occur for those inexperienced with such unusal technique. Balanchine’s method is filled with dramatic choreography and are taught at the School of American Ballet, the New York City Ballet, the Miami City Ballet, Ballet Chicago Studio Company, and the Suzanne Farrell Ballet in Washington D.C..

Information Bibliography:

• "Different Ballet Methods." Different Ballet Methods. N.p., n.d. Web. 06 Apr. 2015. <http://www.ottawaballetschool.com/Ballet-Methods.html>.
• Bedinghaus, Treva. "Vaganova Ballet - Vaganova Ballet Method." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Vaganova-Ballet.htm>.
• Bedinghaus, Treva. "Cecchetti Ballet Method Characteristics." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Cecchetti.htm>.
• Bedinghaus, Treva. "Royal Academy of Dance (And Its Ballet Method)." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/p/Royal_Academy.htm>.
• Bedinghaus, Treva. "French School - French School of Ballet." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/The-French-School.htm>.
• Bedinghaus, Treva. "Balanchine Method - Balanchine Ballet Training Method." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Balanchine-Method.htm>.
• Bedinghaus, Treva. "Bournonville - Bournonville Ballet Method." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Bournonville.htm>.

Picture Bibliogrpahy:

• "FAQs." Ballet Uni. N.p., n.d. Web. <http%3A%2F%2Fballetuni.com%2Fcourse%2Ffaqs%2F>.
• "Enrico Cecchetti." Wikipedia. Wikimedia Foundation, n.d. Web. 06 Apr. 2015. <http://en.wikipedia.org/wiki/Enrico_Cecchetti>.
• N.p., n.d. Web. <http%3A%2F%2Fimages.frompo.com%2Fi%2Fnureyev-dancing>.
• "Meet The Artists." Meet the Artists. N.p., n.d. Web. 06 Apr. 2015. <http://artsalive.ca/en/dan/meet/bios/artistDetail.asp?artistID=30>.
•  "Royal Academy of Dance." Wikipedia. Wikimedia Foundation, n.d. Web. 06 Apr. 2015. <http://en.wikipedia.org/wiki/Royal_Academy_of_Dance>.
• "Biography | The George Balanchine Foundation." Biography | The George Balanchine Foundation. N.p., n.d. Web. 06 Apr. 2015. <http://www.balanchine.org/balanchine/01/bio2.html>.

The History of Ballet

            Ballet has been around for hundreds of years, dating back to the Renaissance in France and Italy as court dances for celebratory occasions. But around the 1400s, as the dance became more detailed and complicated, formal codifying of the dances was needed in order to maintain consistency. This led to the appearance of Ballet Masters, who were highly respected male dance teachers, choreographers, and dance makers.

            King Louis XIV played a large role in the advancement of dance, for he was not only a strong supporter of the art, but also a performer. His famous nickname, “Sun King,” was given to him after he danced as Apollo, the sun god, in Le Balle de la Nuit (The Ballet of the Night.) In 1661 he established the world’s very first ballet school called the Academie Royale de Danse (Roycal Academy of Dance). A ballet master at the school by the name of Pierre Beauchamps is credited with the creation of the five basic foot positions used in ballet. Another prominent dancer of the time was Jean-Baptiste Lully, who began the Paris Opera Ballet. Not only did he bring about the distribution of professional dancers from courtiers, but he also began including women, for men at the time were the only ones allowed to dance ballet.

            What is called, the pre-romantic period began in the early 1800s, when a majority of the dance vocabulary used today was already created, and women’s skirts had just been shortened to above the ankle. This time period was also the beginning of pointe work, as Marie Taglioni, became considered the first ballerina to dance en pointe.

            1830 to 1870 was known as the Romantic period, as it referenced the distinct soft lines made by the body and arms. During this time, Taglioni performed in a romantic ballet called La Sylphide, which was choreographed by her father, as she wore a fitted bodice and bell shaped dress, which became the precursor of the classic tutu. This period also marked a shift of attention, as pointe work advanced, women began to overshadow men.

           

            Preceding the Romantic period came the Russian classical ballet. In the late 1800s, a choreographer by the name of Marius Petipa, and his colleague, Lev Ivanov, allowed ballet to flourish in St. Petersburg. As dancers became more and more skilled, Petipa began to create strenuous, full-length, classical ballets, which always consisted of a pas de deux (slow dance with one male and one female), followed by a solo for each of them, and a coda, which is a short finale. During this time, women’s costumes became even shorter and the classical tutu gained popularity, for it allowed dancers to move easily and the audience to see the footwork of the dancers. Some famous examples of classical ballets during this time are Swan Lake, Sleeping Beauty, and the Nutcracker.

           

            In 1909 Sergei Diaghilev, an impresario (someone who produces ballets, operas, and concerts), created the Ballet Russes in Paris. This famous company combined both Russian and French influence and turned out some of ballet’s most influential choreographers such as Enrico Checchetti, and George Balancine. Through the company, dancers traveled all throughout Europe with innovative choreography, costumes, and sets.

            During the 20^th century ballet thrived. In 1926 the Royal Ballet in England opened, and in 1934, the formerly known Mariinsky Ballet in St. Petersburg, Russia, was renamed the Kirov Ballet. To this day, the Kirov Ballet is still known as one of the world’s greatest ballet companies, as it has produced some of the greatest dancers and choreographers in ballet in history, including Anna Pavlova and Mikhail Baryshnikov.  

            As ballet spread past Europe and into America, it found it’s beginning in New York City through the creation of the prominent Ballet Theatre, known today as the American Ballet Theatre, and the renowned New York City Ballet.

            From the renaissance to today, ballet has captured the love and imagination of people across the globe. Participating in the art, whether it be as a dancer, teacher, choreographer, or patron, is to experience the history, culture, and passion that comes with it. Whether you’re a fan of classical ballet, the more modern interpretations of ballet, or both, I hope you continue to enjoy the art as much as I do.

Bibliography: 

Io. "The History of Ballet." THE HISTORY OF BALLET (n.d.): n. pag. Web.

Photo bibliography: 

• Louis XIV in Lully's Ballet De La Nuit (1653). N.d. History of Ballet. Web. <http://en.wikipedia.org/wiki/History_of_ballet>.
• Marie Taglioni in La Sylphide. N.d. La Sylphide. Web. <http://en.wikipedia.org/wiki/La_Sylphide>.
• Busby, Jess. Amber Scott as Odette in Swan Lake. N.d. Australian Ballet - Swan Lake- Melbourne. Web. <http://dancetabs.com/2012/09/australian-ballet-swan-lake-melbourne/>.

Site used: 

http://www.balletaustin.org/education/documents/HistoryofBalletHandoutsforStudents.pdf

                                                                    

Feeding the Soul Through Dance

            One of the reasons you will find dancers throughout the world, is because dance has the power and ability to grasp our soul and pull us into a world of our own. Classical ballet, especially because it is based upon telling a story through movement, is like acting for the silent. Words aren’t used, or needed, so it’s a wonderfully expressive art form for those who don’t want to use words to communicate; those like me.

            Public speaking is my shortcoming. It is my vice, my weakness, and my obstacle. I’m loud and expressive with those I know and feel comfortable with, but more often than not, I’m quiet and observant.

            Ballet for me was how I found my voice. It gave me not only an incredible boost in confidence, but allowed me to go into a new world where I could be vulnerable, strong, passionate, and full of emotion. Stepping on stage was like being Alice in Wonderland. I was no longer the silent, pensive, girl who only spoke when circumstances required me to. Instead, I was whatever character I needed to be. A peasant in a village, a child on Christmas Eve learning the true meaning of Christmas with her brother, or Marie Taglioni during the 1800s. I wasn’t the most expressive during class and rehearsal (I think that worried my teacher), but when I stepped out onto stage, I was somebody else. I let my love for ballet, my hard work, my pain and joy seep into my movement, and in those few minutes, everything felt right. I learned more about myself in my first year of dancing than I had in the 12 years before. Ballet, especially at the first studio I was at, pushed me farther than I ever thought I could go, and I’m still surprised at how much I grew.

            If ballet gave me such invaluable experiences and lessons in just one year, think about what it can do for you. Ballet has the ability to change your life if you let it. I’m still shy and reticent, but inside I know I have the strength from ballet that will always be there. It gave me the confidence and peace of mind to know that I’m capable of anything, and I think once you find your passion, whether it’s ballet or not, you’ll feel the same way.

            Ballet is my medicine, and it sure has the ability to be yours. If you haven’t danced before, but want to try it, take this as an omen. You are never too late to try your hand at dance. There will be difficult, embarrassing, and frustrating moments, but just remember that anyone who is good, had to struggle to get to where they are at. It’s just a matter of time before you become the same.

            So go ahead and push yourself farther than you ever thought you would. Give yourself the opportunity to feed your soul through dance. The rewards will outweigh all your struggle and hesitation. Good luck.