Going For Ballet Gold

The handful of elite ballet competitions in this country and abroad are very different from their more mainstream counterparts. While some are geared toward professionals, others are primarily for students, for whom a win can be an important step toward success in a professional career. At the student level, preparing dancers to compete involves carefully assessing their technical and artistic capabilities, selecting an appropriate solo or variation from the classical repertory and coaching them on appropriate behavior and attitude.

At the end of the day, of course, it’s not the medals that count, but the opportunity for students to mature technically, artistically and emotionally as dancers. DT tracked down four teachers who both coach students and judge at some of the biggest competitions around the world to discuss proper training and how to help dancers make the most of their experience.

 

Evaluate Technique, Artistry & Presentation

There is no magic formula—and no set of requirements laid out by competitions—for determining if a student is ready to compete. Mikhail Tchoupakov, an assistant professor/lecturer in the University of Utah’s Department of Ballet, explains that students are not required to perform, say, five or six pirouettes as a prerequisite to compete. “It all depends on the competitor,” says Tchoupakov, who has worked for Youth America Grand Prix as an organizer, master teacher, choreographer and judge since 2000. “You can’t do more than your physical abilities allow you to do.”

After all, he notes, judges are looking for more than excellent technique. “At the student level, of course the judges want to see technique, but they’re also looking for potential,” says Tchoupakov. “A lot of these competitions are designed to find talent and develop it later” at a larger, more professional school.

 

Nevertheless, Sarah-Jane Measor, ballet director and co-owner of California-based Menlo Park Academy of Dance, does all she can to make sure her students are as competition-ready as possible. Measor, who took a number of ballet students to the YAGP in San Francisco earlier this year, requires that dancers meet a class attendance minimum before she invites them to enter a competition. Doing so helps ensure that they have the technique to support them throughout the rehearsal process and preparation.

Measor is also careful to ascertain if students have the requisite stage presence before allowing them to compete–a smart idea. Eleanor D'Antuono, artistic director of the New York International Ballet Competition and resident coach for Nutmeg Conservatory for the Arts, who has served on the judging panel at YAGP as well, explains that while judges will always be impressed by fine technique and line, quality of movement and professional presentation often win out. Presentation is also an important factor in the technique classes that students are required to take in addition to performing their variation. "They are judged on both, which is very good because classwork tells a lot. Anybody can practice a solo for hours and hours, but in class you can really see how they plie and how they approach exercises," says Measor.

 

Choosing the Best Solo

 

To select an appropriate variation or solo for a particular student, keep in mind his or her strengths, capabilities and weaknesses. If you don’t already have a strong relationship, observe the student taking class or get to know him or her in another way. “Look at the student honestly and see what suits them,” says Eleanor D’Antuono, artistic director of the New York International Ballet Competition and resident coach for Nutmeg Conservatory for the Arts. Speaking as a judge, she adds, “I am naturally going to look for something that the dancer can accomplish and shows them to their best.”

Regina Zarhina, an associate professor at UU’s Department of Ballet and Tchoupakov’s wife, echoes these sentiments. “Look at the student’s strength and show it off,” she says. “Try to hide the limitations.” When selecting a variation for a female student, Zarhina recommends avoiding principal variations, as they were generally choreographed on the best ballerinas of their time and therefore require a certain level of maturity and understanding of style. “Try to go for the secondary or soloist variations,” she suggests. Adds Measor, “The judges want to see students they’re good at, not what they can’t do. You’re not going to give a variation or a solo with a lot of pirouettes, for example, to somebody who doesn’t pirouette that well.”

It’s also crucial to preserve the historical accuracy of the choreography you are working with. Keep in mind that judges become irritated when they see classical variations altered or performed without sensitivity for the source material. “It’s a huge responsibility to have a student perform a classical variation,” explains Zarhina. “It’s something that’s been passed from generation to generation.” Tchoupakov attributes some of the faux-pas seen on competition stages—“wrong choreography,” “distasteful costumes”—to poor coaching. “It’s not the student’s fault,” he says. “It’s the teacher’s.”

 

Conveying the Right Attitude

 

If you’re entering a student in a ballet competition for the first time, “go with an open mind,” says Measor. Zarhina agrees, noting that it’s best to stay flexible and not be disappointed if things don’t turn out as you might have wanted. In other words, prepare to learn rather than to win.

D’Antuono stresses that the opportunity to train in a professional manner is the true take-home prize. “The real value is for the students to be working on something in a detailed fashion,” she says. “They get to go a step beyond, they find things in themselves, and they discover.” Tchoupakov encourages students view competition as “an experience, an extra chance to go onstage and an extra chance to see what level you’re compared to.”

Adds Measor, “in the grand scheme of things, the outcome is not important. It’s the journey.” DT

 

Alison Duke is a New Hampshire based dancer, teacher and writer who contributes to Pointe, Dance Spirit and Dance Teacher magazines.

News
Clockwise from top left: Courtesy Ford Foundation; Christian Peacock; Nathan James, Courtesy Gibson; David Gonsier, courtesy Marshall; Bill Zemanek, courtesy King; Josefina Santos, courtesy Brown; Jayme Thornton; Ian Douglas, courtesy American Realness

Since 1954, the Dance Magazine Awards have celebrated the living legends of our field—from Martha Graham to Misty Copeland to Alvin Ailey to Gene Kelly.

This year is no different. But for the first time ever, the Dance Magazine Awards will be presented virtually—which is good news for aspiring dancers (and their teachers!) everywhere. (Plus, there's a special student rate of $25.)

The Dance Magazine Awards aren't just a celebration of the people who shape the dance field—they're a unique educational opportunity and a chance for dancers to see their idols up close.

Keep reading... Show less
Leap! Executive Director Drew Vamosi (Courtesy Leap!)

Since its inaugural season in 2012, Leap! National Dance Competition has been all about the little things.

"I wanted to have a 'boutique' competition. One where we went out to only one city every weekend, so I could be there myself, and we could really get to know the teachers and watch their kids progress from year to year," says Leap! executive director Drew Vamosi. According to Vamosi, thoughtful details make all the difference, especially during a global pandemic that's thrown many dancers' typical comp-season schedules for a loop. That's why Leap! prides itself on features like its professional-quality set design, as well as its one-of-a-kind leaping competition, where dancers can show off their best tricks for special cash and merchandise prizes.

Keep reading... Show less
Health & Body
Getty Images

The term "body shaming" might bring up memories of that instructor from your own training who made critical remarks about—or even poked and prodded—dancers' bodies.

Thankfully, we're (mostly) past the days when authority figures felt free to openly mock a dancer's appearance. But body shaming remains a toxic presence in the studio, says Dr. Nadine Kaslow, psychologist for Atlanta Ballet: "It's just more hidden and more subtle." Here's how to make sure your teaching isn't part of the problem.

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.