What do Americans get out of training at Bolshoi Ballet Academy?
Waiting in the wings during rehearsal for an end-of-term BBA performance. Photo by James Hill/Contact Press Images
Moscow is at least eight times zones away from any city in the contiguous United States. The Russian language has a different alphabet. The floors are raked. The tuition costs more than $20,000 a year. And, well, it’s cold in Moscow. But none of those obstacles stand in the way of American students hell-bent on getting pure Russian training.
In the last few years, more young Americans have enrolled at the Bolshoi Ballet Academy (also known as the Moscow State Academy of Choreography) than ever before. Since 2007, the Russian American Foundation’s U.S. summer intensives and government-funded scholarship program have helped pave the road from America to Moscow as BBA has become increasingly open to foreign students. Now, Bolshoi-trained Americans still in their 20s are making their marks with top international companies, bringing with them a distinct blend of Russian training and American spirit.
Going Back to Zero
Despite being hand-picked for BBA, most Americans who arrive in Moscow have to start again from the beginning. “The first day I came into class,” relates Mario Vitale Labrador from California, “my teacher Ilya Kuznetsov made me do a tendu to the side and he smacked his thigh and yelled, ‘Stop, stop, stop!’ He came up to me and said, ‘Would you like to be stupid for the rest of your life?’ For the next month we worked on tendus and turnout. He tore me apart and built me back up from the bottom.”
For American students, who often tackle variations for competition from a young age, this process can feel tediously slow. “I didn’t have the clean, polished technique like everyone in my class did,” says Philadelphian Gabe Stone Shayer, who had the same teacher. “So I started at the bottom, like a first-year student, with very slow tendus and port de bras.” But it paid off, especially for his elevation. “When working on jumps,” he says, “the teachers focused on getting as much power as possible from a deeper demi-plié with your heels solidly on the ground.” Now a corps member of American Ballet Theatre, Shayer says the technical effort has helped him in featured roles like Ariel, in Ratmansky’s Tempest. The approach eventually proved intellectually stimulating, too. “Ilya’s training helped me to ask questions,” he says. “I wanted to know why we were learning what we were learning…to find the root of everything.”
Precious Adams, a Michigan native who joined English National Ballet in 2014, found that the challenges developed sequentially. “Once you’re real whacked out—really flexible—then you work on building strength, consistency, control, style,” she says. At some point, the difficulty shifted to the psychological arena. “Your body can be pushed, but being able to tell yourself to do it every day, it’s more of a mental game.”
Acting classes drew Adams (left) out of her artistic shell. Photo by Laurent Liotardo, Courtesy ENB.
Inspiration and Artistry
For many, the desire to train in Moscow stems from a love of “Russian soul.” Labrador, now a soloist with the Mikhailovsky Ballet, admires Uliana Lopatkina, longtime principal of the Mariinsky Ballet: “Every step she makes she’s in the now, she never dances two steps ahead of herself. You can feel the deliciousness of every movement, even just standing still, because she’s there with you.”
Adams enthuses over Natalia Osipova, the former Bolshoi star now with The Royal Ballet: “Her artistry is just so overpowering. ‘Bolshoi’ means big, so everything is very clean and precise and very long and beautiful, but then there’s this grandness, this artistry factor, that takes it outside the box.”
Adams found that artistry was cultivated in the academy’s acting classes. They taught her to get out of her shell, to explore different characters and feelings. “Then when you go back to variations class, you have a better understanding of how you should be doing it: not just with a plastic smile on your face, but really telling the story through movement.” While working on Roland Petit’s Carmen, for example, “we looked in depth at how you walk, how you stand by the window…playing with being sensual but not trashy.”
San Francisco native Jeraldine Mendoza appreciated the detail work. “My acting teacher described every single movement, every single eye gesture, every single feeling that I should have.” For her exam in acting—the exams can take months of preparation—she was assigned the role of a blind woman in love who didn’t want her lover’s help. “I didn’t feel like I was acting. I was just being.”
Shayer says the training at BBA improved his elevation. Photo by Marty Sohl, Courtesy ABT.
Coping With the Environment
Despite rigorous expectations at the school, relationships with fellow students and teachers are nurturing. “I did see the ugly side of ballet: girls not eating and girls crying because their neck’s too short or their boobs are too big,” recalls Mendoza. “There are politics at Bolshoi, but we all were there for one thing—to become a ballerina. My group supported each other.” She admits she missed her family and American food. “But I was mesmerized by where I was.” She still stays in touch with her Bolshoi teacher, Vera Potashkina, through Facebook.
“It’s a hard environment to survive in, but if you do, you will prosper from it,” says Shayer. His advice? “Never get defensive or offended by how things work there.” He now considers Moscow his second home and will be happy to return to Russia when he guests with the Mikhailovsky this summer in St. Petersburg.
Labrador, who was recently coached in the role of Albrecht by the Mikhailovsky’s ballet master, admits, “There’s always gossip going on, but it’s not the same gossip as in the States. The students make fun of you and talk behind your back, but once they get to know you, they’re your friends.” And now, he says simply, “I’m happy here.”
Wendy Perron is Dance Magazine’s editor at large and the author of Through the Eyes of a Dancer.
Gateway to Moscow
How do Americans make their way to BBA? Every summer about two hundred students 15 or older study with top Bolshoi teachers at the BBA summer intensive in New York City, while younger students, 9 to 14, study in Middlebury, Connecticut. For some, the summer ends in an invitation to Moscow. Starting in 2006, BBA has also partnered with the Russian American Foundation to offer scholarships for one female and one male student to perform at the BBA gala in Moscow. RAF also works with the NSLI for Youth Scholarships to Study Language Abroad program to send 15 American high school students to BBA for six weeks to immerse themselves in ballet, Russian culture and language—and to experience a raked floor—on full scholarships funded by the U.S. Department of State. For more information, go to bolshoiballetacademy.com. —WP
Bolshoi to Joffrey
When Jeraldine Mendoza steps on stage, she arrives with a cool, regal bearing and a sense of control that suggests she cannot be rushed. It’s a quality that seems to come naturally, making her an ideal fit for such lead roles as Odette/Odile, Nikiya, Sugar Plum Fairy and Juliet, all of which she has danced with the Joffrey Ballet since joining in 2011.
Now 23, Mendoza began her training at the City Ballet School of San Francisco, mentored primarily by its artistic director, Galina Alexandrova, a product of the Bolshoi Academy who danced with both the Bolshoi and San Francisco Ballet. Mendoza confesses that she grew up “in a San Francisco Ballet bubble,” idolizing the company. When she auditioned at 17, artistic director Helgi Tomasson told her she needed more stage experience and put her in the trainee program. But when she saw the initial casting list, she was disappointed, so she decided to accept an offer from the Bolshoi Ballet Academy.
Alexandrova knew Mendoza possessed the sort of innate conservatory-trained elegance that would fit in at BBA. And not only was the dancer invited to be one of the first Americans to take part in the Russian course there—which she attended from October 2009 through June 2010—but she graduated with honors. During her stay, she danced the Odalisque variation from Le Corsaire and a Paquita variation in showcase performances.
At the Bolshoi she had a two-hour daily ballet class that began at 9:30 each morning, followed by a 45-minute language class. Deciphering the “ballet language” in class was never a problem, but once she left the studio she couldn’t communicate, so she picked up a working knowledge of Russian.
Shortly after joining Joffrey, Mendoza won the prestigious young artists’ scholarship of the Leonore Annenberg Fellowship Fund, which she used during the 2012–13 season to visit major ballet institutions in France, the Netherlands, Germany, England and Russia.
“Jeraldine is a very bright and determined young woman,” says Ashley Wheater, the Joffrey’s artistic director. “When she went to Europe she made sure to take classes in Hamburg, at the Paris Opéra Ballet and The Royal Ballet, too, and stopped in London to have a last made for her pointe shoes.” (Mendoza’s Tumblr is aptly titled “A Window Seat View: Fly With Me.”)
“Just getting used to company life, which is so different from school life, was a big adjustment,” says Mendoza, whose “real life” partner is fellow Joffrey dancer Dylan Gutierrez. “And learning contemporary choreography has been a challenge, although I’ve now gotten to the point where I’m not afraid to be weird in rehearsals. I’m basically a very shy person, so I think that has helped me. But I’m still attached to that rigorous Vaganova training where something is either black or white, with no room for gray.” —Hedy Weiss
Above: Mendoza works on Swan Lake with Christopher Wheeldon. Photo by Cheryl Mann, Courtesy Joffrey.
As a very shy little girl, my happy place was my room, where I would wear improvised costumes and giggle with happiness while dancing for an imaginary audience. I was raised in a family where dancing was "normal." My mom and sisters graduated from the national ballet academy in Poland, and I, of course, wanted to follow their steps. But I was never forced to. I am proud to say I discovered the magic of ballet all by myself.
Photo by Costin Radu, courtesy of Petra Conti
It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:
The midterm elections are less than three weeks away on November 6. If you're registered to vote, hooray!
But you can't fully celebrate before you've completed your mission. Showing up at the polls is what matters most—especially since voter turnout for midterms doesn't have a fabulous track record. According to statistics from FairVote, about 40 percent of the population that is eligible to vote actually casts a ballot during midterm elections.
Many members of the dance community are making it clear that they want that percentage go up, and they're using social media to take a stand. Here's how they're getting involved:
Dancers will do just about anything to increase their odds of staying injury-free. And there are plenty of products out there claiming that they can help you do just that. But which actually work?
We asked for recommendations from four experts: Martt Lawrence, who teaches Pilates to dancers in San Francisco; Lisa-Marie Lewis, who teaches yoga at The Ailey Extension in New York City; physical therapist Alexis Sams, who treats dancers at her clinic in Phoenix; and stretch training coach Vicente Hernandez, who teaches at The School of Pennsylvania Ballet.
With a contemporary air that exalts—rather than obscures—flamenco tradition, and a technique and stamina that boggle the mind, Eduardo Guerrero's professional trajectory has done nothing but skyrocket since being named one of Dance Magazine's "25 to Watch" earlier this year. His 2017 solo Guerrero has toured widely, and he has created premieres for the Jerez Festival (Faro) and the 2018 Seville Flamenco Biennial (Sombra Efímera). In the midst of his seemingly unstoppable ascension, he's created Gaditanía, his first work utilizing a corps de ballet. Guerrero is currently touring the U.S. with this homage to Cadiz, the city of his birth.
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At our cover shoot for the November issue, Bobbi Jene Smith curated one of the best lineups of YouTube music videos that I've heard in a long time. From Bob Dylan to Tom Waits, they felt like such perfect choices for her earthy, visceral movement and soulful approach to dance.
Dance technology has come a long way from ballet variations painstakingly learned by watching fuzzy VHS tapes. Over the last few years, a dizzying number of online training programs have cropped up, offering the chance to take class in contemporary, jazz, ballet, tap, hip hop and even ballroom from the comfort of your own living room or studio.
Usually, it takes new recruits a few seasons to make their mark at the Paul Taylor Dance Company. But Taylor wasted no time in honing in on the talents of Alex Clayton. Only a few months after Clayton joined in June 2017, Taylor created an exciting solo for him in his new Concertiana, filled with explosive leaps and quick footwork. Clayton was also featured in new works by Doug Varone and Bryan Arias. At 5' 6" he may be compact, but onstage he fills the space with a thrilling sense of attack.
Scottish Ballet is turning 50 next year, but they'll be the one giving out the gifts.
In 2019, the company will make five wishes from fans come true, as a way of thanking them for their loyalty and support over the years. "It can be anything from the dancers performing at a birthday party or on the banks of Loch Ness, or even the chance to get on stage and be part of a Scottish Ballet show," according to the company.
Recently, English National Ballet first artist Precious Adams announced that she will no longer be wearing pink tights. With the support of her artistic director Tamara Rojo, she will instead wear chocolate brown tights (and shoes) that match her flesh tone.
It may seem like a simple change, but this could be a watershed moment—one where the aesthetics of ballet begin to expand to include the presence of people of color.
Flamenco dancer and choreographer Rocío Molina created her first full-length production, Entre paredes ("Between Walls"), at the age of 22. At 26, the prodigy received Spain's National Dance Prize, the most coveted dance award in Spain. Now 34, her rupture with tradition makes her no stranger to controversy. But it, and her fiercely personal and contemporary style, means that each new project is a fascinating voyage.
Molina is the subject of French filmmaker Emilio Belmonte's first feature length documentary, IMPULSO. The film, which makes its U.S. theatrical premiere at New York City's Film Forum on October 17, follows Molina for two years as she tours Europe presenting a series of improvised works. These improvisations ultimately inspired the creation of one of Molina's masterworks, Caída de Cielo ("Fallen from Heaven"), which premiered in 2016.
In a move that was both surprising and seemingly inevitable, New York City Ballet closed its fall season by promoting seven dancers. Joseph Gordon, who was promoted to soloist in February 2017, is now a principal dancer. Daniel Applebaum, Harrison Coll, Claire Kretzschmar, Aaron Sanz, Sebastian Villarini-Velez and Peter Walker have been promoted to soloist.
Newly promoted soloist Peter Walker has been showing his abilities as a leading man in ballets like Jerome Robbins' West Side Story Suite. Photo by Paul Kolnik, Courtesy NYCB
The announcement was made on Saturday by Jonathan Stafford, the head of NYCB's interim leadership team. These seven promotions mark the first since longtime ballet master in chief Peter Martins retired in the midst of harassment allegations at the beginning of this year. While Stafford and fellow interim leaders Rebecca Krohn, Craig Hall and Justin Peck have made some bold choices in terms of programming—such as commissioning Kyle Abraham and Emma Portner to create new works for the 2018–19 season—their primary focus has appeared to be keeping the company running on an even keel while the search for a new artistic leader is ongoing. Some of us theorized that we would not be seeing any promotions until a new artistic director was in place.
Ryan Steele has a simple rule for demanding days on Broadway: "I listen to my body," he says. "I have whatever I'm craving: If I need more protein, I go straight for that. If I'm tired, I know I need carbs."
This wasn't always Steele's approach. Growing up, shuttling between the studio and school meant relying on McDonald's and Burger King.
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
Earlier this week, a friend of a friend reached out to me seeking recommendations for a dancer/choreographer to hire. She wanted someone who could perform a solo and talk about their process for an arts-appreciation club. After a few emails back and forth, as I was trying to find out exactly what kind of choreographer she was looking for, it eventually emerged that she was not looking to pay this person.
"We are hoping to find someone who would be willing to participate in exchange for the exposure," she wrote.
Why do people think this is an okay thing to ask for?
For over a decade, husband-and-wife team Pascal Rioult and Joyce Herring, artistic and associate artistic directors of RIOULT Dance NY, dreamed of building a space for their company and fellow artists in the community, and a school for future dancers. This month, their 11,000-square-foot dream opens its doors in the Kaufman Arts District in Astoria, Queens, a New York City neighborhood across the East River from Manhattan.
In the final years of her decade-long career with the Lewitzky Dance Company, University of Arizona Associate Professor Amy Ernst began to develop an interest in dance injury prevention. She remembers feeling an urge to widen her understanding of dance and the body. Soon after retirement from the Company, she was hired by the Kerlan-Jobe Orthopaedic Clinic in Inglewood, California as a physical therapy assistant, where she worked for the next three and a half years. This work eventually led her to pursue an M.F.A. in dance at the University of Washington-Seattle. She remembers growing into the role of a professor during her time pursuing her degree. That incubation phase was critical. Ernst joined the faculty at the University of Arizona in 1995, and now as director of the M.F.A. program, mentors the new generation of dance faculty, company directors and innovators.
With cooler weather finally here, it's time to talk warm-ups. And while your dancewear drawer is probably overflowing with oversized sweaters, leggings and enough leg warmers to outfit the whole class, warm-up boots are often forgotten. To keep your feet and ankles cozy in between rehearsals, we rounded up dance warm-up boots that suit every style.
Bloch Inc. Printed Warm-up Bootie
via Bloch Inc.
Created by Irina Dvorovenko and Max Beloserkovsky, this collection comes in a variety of tie dye, floral and even butterfly prints.
Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.
A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.
What happens when you mix two really good things together? Sometimes, it can be magical. It's practically guaranteed when one of those elements is the wizarding world of Harry Potter, and the other is—wait for it—dance-team–style hip hop.
When the Bible spoke of the "ingathering of the exiles," it didn't have dance in mind. Yet, this month, more than 100 dancers, choreographers and scholars from around the world will gather at Arizona State University to celebrate the impact of Jews and the Jewish experience on dance. From hora to hip hop, social justice to somatics, ballet to Gaga, the three-day event (Oct. 13–15) is "deliberately inclusive," says conference organizer and ASU professor Naomi Jackson.