Choosing a Ballet School
From the Directors  |
| Choosing a Ballet School |
| Why is it important for students to participate in performances? |
| What is Ballet? (A personal view) |
In the United States, unfortunately, there are no restrictions on who can and cannot teach ballet or open a studio; it is possible for anyone to have a ballet school. In other words, anyone who can lease a space and pay for the advertising may do so, regardless of their background or experience in the field. All that is necessary is that they convince YOU that they are qualified. Before you send yourself or your child to a teacher or school, research the teacher's background. REMEMBER! You cannot teach what you could never do!
Always observe a class. Real teachers conduct their classes in an unmistakable way. First, there is never chaos. Classroom protocol is required to learn the material presented. Students who work with professional teachers are always focused and NEVER talk unless they are addressed by the teacher. Does the teacher seem to be prepared? A real teacher does not ever give class in an impromptu manner. Unless the teacher appears to have a clear class plan, this person is either a fraud or is not seriously concerned with the students.
What does the facility look like? It may be beautifully decorated and spotless, but are the floors constructed properly and covered with a dancing surface? Are the studios big enough to allow students over 12 years of age to move in a manner that resembles stage movement? It is not uncommon to see advanced students who move in a stunted manner because they studied in a tiny studio. Also, a proper studio will have adequate mirrors and barres and a ceiling that is high enough for high lifts and jumps. A professional dancer or teacher would not find any other condition acceptable.
The study of classical ballet is the study of body positions, not of steps or movements. When you go to the ballet and watch dancers in action, you are witnessing something akin to an animated movie where you see one picture after the other flash by so as to look like movement. First, positions are studied, and then the transitions from one position to the other. Finally the elements of turns, jumps, lifts and pointe work are incorporated. A good teacher always stresses the correctness of position and avoids encouraging expression such as looks of longing or “recital smiles”. The artistic aspects of ballet come with the growth of the student. In the perfection of each body position, there exists a built-in dynamic that suggests a certain emotional condition. Ballet is NOT an art of self-expression. Dancers are instruments with which choreographers compose their visions.
Training in classical ballet is based on the formation of habit. Once these habits have been set, there may be no changing the faults that might have been allowed in the initial study. A famous teacher once said “a dancer is like a loaf of bread, if you’ve left something out, you can’t add after it’s baked”. No words were ever so true. We (professional teachers) often see dancers and students work hard to correct mistakes and problems; however many of them never realize their true potential because it’s nearly impossible to reprogram everything no matter how hard they try. Teachers that allow less than perfect body position and execution of exercises, particularly at the barre, are to be avoided. It is possible to see if a student has trained with a competent teacher by the way muscles are developed. Amateur teachers leave a signature of oversized buttocks and thighs because of the lack of stress on turnout. It is a common misconception in the U.S. that forcing turnout is dangerous, however it is the students and dancers who do not work with correct turnout that suffer chronic injuries.
Be careful of the traps! Trophies, pictures of famous dancers on the wall, certificates by dance organizations are known by real professionals as meaningless fluff. Amateur teachers use these to acquire credibility and prestige by association. The amateur dance studio captures its students by presenting the fun aspect. On the other hand, the teaching atmosphere should not be excessively harsh or cruel. Students should be corrected constantly but never insulted. Students need to be guided, encouraged and nurtured, but not coddled, and the teacher should NEVER appear to be making friends with the class. The pervading atmosphere should be one of mutual respect.
When children are put en POINTE. Pointe work (dancing in pointe shoes) seems to be a mystery among amateur schools and teachers. It is very common for students to be made to wait until they are as old as 12 or 13 years old, and then to be told that they have to acquire the proper strength before they can go "en pointe”. After that, they attend a “pointe class” where students are asked to perform exercises for up to an hour. This is absurd! This approach is akin to thinking that a child should not attempt walking until they have acquired the proper muscles and coordination. The correct approach is to introduce pointe work into the student’s everyday practice, executing no more than two or three exercises per class. In this way, the students experience the feeling of pointe work while they are as light as possible and can grow into their pointe technique. For a beginner to wear pointe shoes for up to an hour is more of a torture than a lesson.