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What Directors Really Think of Ballet Dancers Going To College
In the ballet world, the phrase "going to college" is sometimes regarded as the musings of a dancer who's not really serious about their craft. Although schools like Juilliard and Bennington College have made degrees acceptable for modern dancers for decades, the competitive ballet world (which often follows a philosophy of "the younger the better") tends to discourage higher education.
But some ballet students just don't feel physically or emotionally ready to join a professional company at age 18, and others simply don't want to miss out on the college experience. So they choose to pursue an undergraduate dance degree to continue their ballet training in an academic atmosphere.
Gaining versatility at Butler University. Photo by Brent Smith, courtesy Butler
However, dancers need to understand how this decision will play out once they graduate. What do artistic directors—most of whom never chose to pursue a bachelor's degree themselves—think about this path? Do they see college as a four-year detour? Or have they come to appreciate the knowledge and experience dancers can obtain from this once unheard-of path to a ballet future?
The Benefits Graduates Bring
Setting yourself apart from the crowd is an essential part of getting that first job in a ballet company. Having demonstrated the ability to graduate with a degree while maintaining a high performance quality can be a fantastic way to get your foot in the door. "Knowing a dancer has that deeper arts education can make a difference—it sways in a positive way," says Devon Carney, artistic director of Kansas City Ballet, where a handful of dancers hold degrees from schools like Indiana University. "Graduates are personally and artistically more level-headed. They have a better ability to deal with problems, and that maturity is something I highly value in a dancer."
Devon Carney teaching class. Photo by Ken Coit, courtesy KCB.
College dancers often graduate with life skills that students from a purely dance-oriented environment might not have gained. Often, they can better communicate both inside and outside of the studio, and they know how to shift subjects and organize a tight schedule as quickly as possible. By taking courses like ballet history, anatomy, nutrition, psychology, public speaking and piano, students become not only well-rounded employees, but assets to the ballet world.
"Dancers who have given themselves the opportunity to explore other sides of life have also given themselves the opportunity to understand that the world is bigger than the studio and stage," says Victoria Morgan, artistic director and CEO of Cincinnati Ballet. She earned both a BFA and an MFA in ballet from the University of Utah, and says she likes seeing a degree on a dancer's resumé. "It is confidence-building to know that there are options, and that confidence shows onstage."
Victoria Morgan. Photo by Daniel Wagner, courtesy Cincinnati Ballet
The Challenges Undergrads Face
The harsh truth is that obtaining a job in a professional ballet company is far from a guarantee. "Most programs sell a dream that they know they can't deliver," cautions Mikko Nissinen, artistic director of Boston Ballet, where hiring college graduates is far from common. He notes that a resumé listing connections and repertoire performed at school may provide entry to the audition studio, but dancers then have to prove their technical and artistic abilities.
Mikko Nissinen. Photo by Liza Voll, courtesy Boston Ballet.
Many people in the ballet world still view most BFA programs as too dissimilar from the professional realm to be truly competitive. The insulated bubble of campus life can mean students don't realize they're not performing at a high enough level.
"Students need more exposure to the realities of what the professional world requires—they have to understand that if you want to get a job, there is no optional class, you have to be serious, show up day in and day out and know all your material," says Carney. In a company, you would lose your job for frequently missing rehearsals or eating in class, but in some dance departments, undergraduates may be allowed to slip in their professionalism.
Some directors feel the hardest part of attending college can be the many distractions, like parties, all-night study sessions, excessive drinking and a disregard for the basic human need to sleep. "Dancers must keep their bodies healthy and strong," says Julie Kent, artistic director of The Washington Ballet. "A lot of times the college lifestyle renders proper nutrition difficult."
Julie Kent. Photo by Rosalie O'Connor, courtesy The Washington Ballet.
Even with limited dining-hall options and little time for cross-training, students must maintain their physical form in the same way a professional would. However, it is by no means impossible to keep up the daily intensity required to stay in shape: One of Kent's first hires after arriving at TWB was EunWon Lee, who earned a BFA from Korea National University of Arts in Seoul.
The key is staying passionate and competitive. If an undergrad wants a career in the professional ballet world, it is up to them to find an institution that provides the tools necessary to train at the level the industry requires, and then take advantage of every resource and opportunity to improve. College may not be the most common pathway to a professional ballet career, but it has all the potential in the world to develop artists who can change the art form for the better.
There must be something in the water: Last week, we announced that Madonna is directing Michaela DePrince's upcoming biopic. And yesterday, we got wind of another major dance film: According to The Hollywood Reporter, Fox Searchlight has sealed the deal to make Ailey Ailey's life and work into a movie. Yes, please.
While some movies falter along their way to the big screen, we think this one's got legs (and hopefully a whole lot of lateral T's and hinges and coccyx balances, too). Why?
Back in 2012, after 14 years dancing with Mark Morris Dance Group, choreographer John Heginbotham ventured out on his own. Don't think of it as going solo, though.
Almost from the outset, Heginbotham has embarked on a series of fruitful collaborations with other artists, via his namesake company, Dance Heginbotham, and through a stream of independent projects. His creative partners have covered a range of talents and genres: illustrator Maira Kalman (in 2017's The Principles of Uncertainty), opera director Peter Sellars (for Girls of the Golden West, which debuted at San Francisco Opera in November), and contemporary-music luminaries such as Tyondai Braxton and Alarm Will Sound.
Here's What He Has To Say: About starting his company, his rehearsal process and why he's drawn to creative mash-ups.
Raise your hand if you've ever walked out of the studio with just one thought on your mind: a big, juicy cheeseburger. But raise your other hand if instead of getting that burger, you opted for a hearty salad or stir-fry.
While dancers need to fuel their bodies with nutrient-dense meals and snacks, plenty of foods get an unfair bad rap. "The diet culture in this country vilifies various food groups as being bad while championing others as good," says Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center at Mount Sinai Hospital in New York City. "But black-and-white thinking like that has no place when it comes to food."
Some foods have less nutrition than others, admits Hogan, but if you're eating what you crave and honoring your hunger and fullness cues, she says you'll probably get the variety of nutrients your body needs. Here are seven foods that can have a place on your plate—guilt-free.
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
Ten years is a long time for a dance production to run, but Sidi Larbi Cherkaoui's Sutra, an athletic, meditative spectacle featuring 19 Shaolin monks and a malleable set of 21 wooden boxes (designed by Antony Gormley) is still striking a chord with audiences worldwide. To celebrate the milestone, Sutra is returning to Sadler's Wells, where it all began. March 26–28. sadlerswells.com.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.