A Rundown of the Major Ballet Techniques
History: The legendary Russian ballerina and teacher Agrippina Vaganova combined elements of French, Italian and early Russian techniques to create this method. The syllabus is broken down into eight years of training—a slow, steady and deliberate progression.
Emphases: Use of the upper body and placement of the head. "Arms are not just for decoration," says Yuliya Rakova, a teacher at the Vaganova-based Kirov Academy of Ballet in Washington, DC. "They support the jumps and turns, and have to be very expressive."
Affiliated company: Mariinsky Ballet in St. Petersburg, Russia
History: George Balanchine, who trained at the Imperial Ballet School (beforeit was renamed the Vaganova Ballet Academy), developed a unique style that was based on his Russian roots but influenced by his adopted American home. "He didn't change the technique, but he stretched it and made it more modern-looking," says Susan Pilarre, faculty member at the School of American Ballet in New York City.
Emphases: Deep plié, the use of épaulement and keen musicality. "Beautiful arms and hands and the shaping and placing of the feet are important," says Pilarre. "Balanchine dancers can move quickly because they dance on the balls of their feet."
Affiliated companies: New York City Ballet, Miami City Ballet
History: Developed by August Bournonville, a Danish dancer who also performed with the Paris Opéra Ballet, this technique has both Danish and French influences. It's the foundation of Bournonville's many famous ballets, such as La Sylphide and Napoli.
Emphases: Light, fast footwork and a quiet upper body. The head and shoulders follow the working leg, and jumps are strong and buoyant.
Affiliated company: Royal Danish Ballet in Copenhagen, Denmark
History: Established by Italian master teacher Enrico Cecchetti, this technique
is maintained in the U.S. by the Cecchetti Council of America, through which students and teachers can complete several grades of exams. There are planned exercises for each day, with a focus on anatomy.
Emphases: Coordination of the head and arms, with smooth transitions between steps. Students are encouraged to work both sides of their bodies equally.
Royal Academy of Dance (RAD)
History: RAD was developed in 1920 by a group of leading dance professionals, who created a series of exams to help raise the level of dance education among students and teachers. The syllabus is influenced by the Cecchetti and Vaganova techniques.
Emphases: Attention to detail, particularly in port de bras and épaulement. Arms tend to be held low and rounded.
Misty Copeland. Her name is synonymous with exquisite artistry and outspoken advocacy. And her visibility has made a huge impact on the ballet world. Ballet's relationship with race has always been strained at best, hostile at worst. But Copeland's persistent message and star quality have finally forced the ballet industry to start talking about racial diversity, inclusivity, and representation. "The rarity of seeing ourselves represented is sad," Copeland says. "The more we see every hue and body shape represented on the stage, the more possibilities young dancers feel they have for themselves."
The Olympics are always full of inspiring Cinderella stories, where athletes no one had heard of mere months ago end up blowing all expectations out of the water, and maybe even nabbing a medal in the bargain. But we've recently caught wind of a different kind of Cinderella story—and it's one we really, really hope shows up in the Closing Ceremonies of the PyeongChang Olympics, airing tonight on NBC starting at 8 pm Eastern/5 pm Pacific time.
Being a dancer comes with the task of having to entertain the same questions over and over again from those outside the dance world. Of course, we love having our friends and family take an interest in our passion—but if someone asks ONE MORE TIME whether or not we've met Travis Wall, we might just go crazy.
Here are 10 questions that dancers hate getting asked.
Contemporary phenom Christina Ricucci has super-flexible hips, which means she can stretch her legs to unbelievable heights. But when she noticed herself making contorted positions in class, Ricucci realized she was approaching her extensions all wrong. "I went back to the basics in class, squaring my hips and using my turnout," Ricucci says. "I learned to create proper positions, rather than whacked-out versions of them."
Some dancers are so wonky they have a hard time supporting their high legs, while others struggle with limited flexibility. But no matter your facility, you can find a balance of stretch and strength to achieve your fullest range of extension. It's not about how high (or not) your legs can go: It's the quality of the movement, and how you get those legs up, that counts.
Last month, we asked why there wasn't a Best Choreography category at the Oscars—and discovered that many of you agreed with us: Choreographers should definitely be acknowledged for their work on the super-dancy movies we can't get enough of.
Now, we're taking matters into our own (jazz) hands.
We've decided to create a Dance Spirit award for the best cinematic choreography of 2017. With your input, we've narrowed the field to four choreographers whose moves lit up some of the best movies of the year. Check out our nominations for best choreography below—and vote for the choreographer you think deserves the honor. We'll announce the winner on Friday, March 2.
Once upon a time (until the 2014 Winter Olympics in Sochi concluded, to be exact), figure skaters had to compete to music without words. Before this rule change, a skater faced an automatic point deduction if the music even hinted at vocals. Understandably, there were *a lot* of Olympic programs skated to classical music, and you'd tend to hear the same music selections over and over and over.
There are plenty of current Olympic figure skaters who'd make beautiful dancers (first among them Adam Rippon, whose gorgeously choreographed long program won the internet, if not the gold). But today, as we wait for the women's figure skating competition to crown its new champions, we wanted to throw it back to one of the most beautifully balletic skaters of all time: Sasha Cohen.
The high-flying leaps of grand allegro are meant to be incredibly exciting. But at the end of an intense ballet class, when you're exhausted, it can be hard to give them the attention they deserve. Want to pump up your big jumps? Follow these 10 vital tips from Jennifer Hart, curriculum director and instructor at Ballet Austin.