James Payne, director of The School of Pennsylvania Ballet, starts class each day by asking students how they feel. "If they're collectively hurting, and I know that the day before they were working hard on something new, I might lessen the intensity of the class," he says. "I won't slow it down, though. Sometimes it's better to move through the aches and get to the other side."
A productive class depends, in part, on how well it is paced. If you move too slow, you risk losing students' interest and creating unwanted heaviness. Move too fast and dancers might not fully benefit from combinations or get sufficiently warm, increasing their risk of injury. But even these guidelines may differ depending on the students' age and level. Good pacing is a delicate balance that can facilitate mental and physical growth, but it requires good planning, close observation and the ability to adapt mid-class.
As a young student, Becky Erhart Moore did not go on pointe with the rest of her class. "My teacher felt I wasn't ready, so I wore flat shoes when everyone else wore pointe shoes," she says. "My mom had to deal with my tears for weeks!" Moore, who is now artistic coordinator and faculty member at Marin Ballet in California, says that the setback she experienced as a child motivated her to work even harder. "When I finally went up on pointe with my class, it was that much sweeter."
Susannah Israel-Marchese with students at School of Ballet Hartford; photo by Frank Marchese, courtesy of SBH
At Michigan Ballet Academy, artistic director Irina Vassileni meets with a group of eager young students and their parents. She holds a shiny new pair of pointe shoes in one hand and an old, worn pair in the other. "I show them all the details, inside and out, and how working on pointe for hours will break down the shoe," says Vassileni. "I might even bring in different models and talk about how they're made. Parents need a lot of information to make them feel comfortable about their children going on pointe."
Working with a 9-year-old student, Alexandra Koltun asks the young girl to face the barre. She reviews fifth position, demi-pointe with the front foot and coupé devant. "I separate all the positions, so the student understands each one," says Koltun, founder and artistic director of Koltun Ballet Boston. She reaches down to shape the girl's foot into sur le cou-de-pied, leaving the heel in front and gently squeezing the toes around the ankle. "This position will equip the foot with more strength," she says.
Depending on a ballet teacher's preference and style of training, sur le cou-de-pied (meaning "on the neck of the foot") may be incorporated into class at different times and in various ways. From steps like pas de cheval to frappé and développé, the wrapped position can be fundamental to a student's technical development. Or it can be used less often and as a supplement to cou-de-pied front and back. Either way, the value of the position remains constant as a tool to mold and strengthen dancers' feet.
Naomi Glass, teacher at Pacific Northwest Ballet School, knows firsthand the advantages and challenges of hypermobility. As a young dancer, she was told to keep her hyperextended knees in a straight position far from her full range of motion. "It felt too bent to me," she says. "But once I was able to access my inner thighs and rotators, I found strength and stability and could still use the line that I wanted."
Hypermobility occurs when joints exceed the normal range of motion. Dancers can have hypermobility in specific joints, like their knees, or they can have generalized laxity throughout their bodies (which is often measured using the Beighton system—see below). While this condition may enable students to create beautiful aesthetic lines, it can also increase risk for injury. Help dancers gain the strength they need to stay healthy while making the most of their hypermobility.
Karin Ellis-Wentz (left) of Joffrey Academy. Photo by Todd Rosenberg, courtesy of Joffrey Academy
When Lindy Fabyanic opened her school, Dance Conservatory of Charleston, she called on friends and former colleagues to find guest teachers and build her faculty. "I started texting my network to see if they wanted to come teach workshops or master classes," says Fabyanic, former dancer with San Francisco Ballet and New York City Ballet. "It was so heartwarming to get their positive responses and feel their support."
Whether your studio is new or well-established, the easiest and most effective way to find potential candidates is to reach out to people you already know. A strong, trusted faculty will ensure that students receive the best training and experience possible. But it can be challenging to recruit highly qualified teachers if you don't have direct access to a large network of professionals in your area. Even when you find the right people, how do you retain them in a competitive market? Try these creative and expense-free strategies to help build the right team for your school.
Choreographer Andrea Giselle Schermoly, center, demonstrating. Photo by Andrew Yew, courtesy of Schermoly
You might think ballet competitions are all about the dancers—offering them valuable exposure, scholarships and job opportunities. They serve as vehicles for growth, with dancers spending countless hours working to perfect every step they'll take in front of the judges. But these same events have also become a way for choreographers to launch their own careers. The competition work they make helps to refine their voices, and it offers the chance to dive further into the creative process with pre-professional students. DT spoke with five award-winning choreographers about their roles on the ballet competition circuit, and how this unique opportunity has both inspired and elevated their craft.
Catherine Fowle's students at Juneau Dance Theatre. Photo by Ashley Concannon, courtesy of Columbia Ballet School
At Grand Rapids Ballet School in Michigan, ballet master Attila Mosolygo often changes the order of his barre combinations. One day, he might give an adagio before grand battements; the next, he'll save adagio for last. Like most teachers, he follows a general progression—pliés to start, strength-building battements or stretches to finish—but allows for variance to accommodate class level, timing and personal preferences.
A classical ballet barre is a model warm-up routine: It gets large muscle groups moving first and then progresses through a series of exercises that grow in speed, range and complexity. This start to class helps students find balance and work on fundamentals as it prepares them to dance unsupported in center. But that doesn't mean you need to follow the same script every class—especially if you want to keep your students engaged. "I don't think a specific way is better," says Mosolygo. "If dancers do everything the same all the time, they're less adaptable."