Last week, we highlighted the deliberately, hysterically bad @biscuitballerina Instagram account, created by a then-mysterious dancer with a great sense of humor. This week, the artist behind @biscuitballerina—who turns out to be Royal Ballet of Flanders corps member Shelby Williams—got in touch with us to set the record straight about the intentions of those LOL-worthy posts.
Her photos and videos, with their exaggeratedly cringe-worthy technical flaws, are NOT meant to mock amateur dancers. Instead, Williams is actually hoping the account will help all dancers move past their shortcomings and accept themselves and their dancing.
Amanda Garcia started dancing at Prodigy Dance and Performing Arts Centre in Plano, TX, as an intermediate-level 12-year-old. But Prodigy’s owner and director, Camille Billelo, quickly recognized Garcia’s potential and placed her in classes with older students. For Garcia, being the youngest among advanced dancers was exciting—and a bit intimidating. She was determined to catch up. “I had to prove myself,” she recalls, “and that helped define me as a dancer.”
All dance students aspire to join a higher level. But once promoted, the tougher demands (both technically and physically) can be daunting. How can you convince your teachers, classmates and yourself that your new level is where you belong? The answer lies in your
attitude and work ethic both in and out of the studio.
Dancers at Adrenaline Nationals (photo by Spencer Dennis, courtesy Adrenaline)
You were probably at the top of your former class, and the change from being the strongest to the greenest—or youngest—in your new one can be startling. Sometimes, it’s helpful to approach a new level one step at a time. Billelo transitions students by having them take only one or two higher-level classes per week (on top of their current classes) so they become familiar with their new teachers and classmates, as well as what’s expected of them, before moving up full-time.
One-on-one training can also speed up your progress. Billelo recommends that recently promoted students take a few private lessons with new teachers until they feel more comfortable. If it works with your schedule, ask if you can add a few lower-level classes, too, so you can work on the basics at a slower pace.
Show Your Commitment
As Garcia advanced through the ranks at Prodigy, she focused on building self-confidence, but found it crucial to stay open to criticism, advice and direction from her teachers. It showed she was committed to her training, and eager to stay in the higher level. “I look for passion and drive in a dancer—the students who, after class, ask ‘Do I have any more corrections?’ or ‘What can I do to improve?’ ” Billelo says. “I see which dancers come in early or stay after class to keep working. That’s how I know who really deserves to be in advanced classes.”
In class, show that you’re mature enough to handle the new and often more intense workload by immediately applying a correction, even if it wasn’t given to you directly. Pacific Northwest Ballet School principal Abbie Siegel cautions young dancers against going to class on autopilot. “A dancer may be taking class every day, but occasionally, it starts to become more of a habit for her just to be there,” she says. It’s not enough to just show up and go through the motions. Make the most out of each class, and write down your corrections each day.
And while it may be tempting to mingle with your new classmates and make new friends, do so after class. “It’s normal for students to become a close-knit group, because they spend so much time together,” says Miami City Ballet School faculty member Maribel Modrono. “But dancers need to let go of those attachments once they’re in the studio and redirect themselves to the teacher or choreographer.” It’s OK to turn to your fellow dancers every now and then for support, but don’t let your social network take away from your teacher’s corrections.
Regaining confidence in a new level—and not giving anyone the chance to doubt your worthiness—takes bravery, commitment and self-assurance. When she first moved up to the senior level, Garcia struggled with self-doubt, but zeroed in on her own goals to tame her insecurity. “I went through a phase where I didn’t believe in myself,” she says. “I had to learn to put everyone else’s opinions aside. Once I stopped being intimidated by the other dancers, I really started to grow.” Now 19 and a dance major at Chapman University, Garcia mentors younger students at Prodigy, and encourages them to be ambitious and focused as they climb the dance ladder.
As the newbie, be a sponge for information from both the teacher and the older students—and don’t be afraid to reach out for help with anything unfamiliar. Try “shadowing” an accomplished student by doing the combination behind her (or in her group across the floor), attempting to match her lines or timing. Decorum and respect for seniority is important, but remember that this is now your class, too—you deserve to be there.
Feeling like you’re at the bottom is no reason to have low expectations. “If you’re in a competition level with a wide age range, don’t make excuses for yourself by thinking, ‘I’m not going to win anything this year because I’m the youngest,’ ” Billelo says. “Instead, set a goal, like making the top 10, and try to reach it.” But keep in mind that not reaching a goal doesn’t necessarily mean failure. “As long as you’ve worked hard,” Billelo continues, “you should feel good about yourself. Ultimately, it’s not about competitions and winning. It’s about your growth as an individual and as a dancer.”
Some days, you may feel more out of place than others. But Siegel stresses the importance of trust—in yourself and in your teachers. “We wouldn’t put you somewhere we didn’t think you belonged,” she says. “As teachers, our main goal is students’ success, and making them the best dancers they can be. Trust that we know what’s best for you.”
Telltale Signs You’re the Youngest—or Least Mature—in Your Level
Are you the new dancer in class? Avoid these five actions that betray your true newbie identity.
1. Hiding in the back, the corner or behind other dancers. Having respect and an awareness of other dancers in class is important, but take some space for yourself, too. Getting up to speed will be a lot harder if the teacher can’t see you. Plus, excessive shyness telegraphs insecurity. Challenge yourself to go in front at least once per class until you feel brave enough to do it more often.
2. Blowing off the combinations because you’re having trouble picking them up. They may be longer or more complex than you’re used to, but if you stop trying halfway through, you’ll never learn the steps. Block everything else out and concentrate. And remember: It’s OK to ask the teacher to repeat something.
3. Never speaking up. While no teacher likes their class needlessly disrupted, if you have a question about a specific step or phrase, ask! Just make sure it hasn’t already been addressed (a sign you weren’t paying attention), and save questions that pertain to only you for after class. Your teachers want to know you’re working to improve.
4. Forgetting the dress code. Let’s face it: Mistakes happen. But if you’re consistently forgetting your pointe shoes, jazz shoes, leotard or enough bobby pins to secure your hair, it’s a sign you’re careless. Take the responsibility of being in a higher level seriously.
5. Trying to be exactly like another dancer. While you should certainly watch and learn from your more advanced classmates, don’t let your own self disappear. There’s a fine line between shadowing and copying. Take it from Chapman University dance major Amanda Garcia: “Dare to be different! You’ll stand out and grow as an artist.”
From Chicago to Kinky Boots, heels are a necessity for musical theater dancers. But lots of factors go into choosing the right character shoes, especially when it comes to heel height. Ultimately, it's all about figuring out how to feel confident, so you can rock every step—from high kicks to leaps.
In today's ballet world, dancers need to be adaptable. Long gone are the days when a few big companies would dance the classics, while others specialized in contemporary rep; now, everyone does a bit of everything. “You have to be able to put on different styles like you're putting on jackets," says Parrish Maynard, a faculty member at San Francisco Ballet School. “As a professional, one minute you'll be doing a piece by George Balanchine, the next a contemporary William Forsythe work and then a week later Swan Lake."
Pennsylvania Ballet soloist Alexander Peters has a fantastic petit allégro. His dynamic small jumps hit crystal-clear positions, with beats that scissor impressively—making him an obvious choice for roles like the impish Puck in George Balanchine’s A Midsummer Night’s Dream. But that apparent effortlessness didn’t come easily. As a student, he struggled to maintain his turnout in the air. “I spent so many hours at barre, strengthening my turnout so I didn’t have to think about it when it came time to jump,” he says.
Petit allégro can reveal a dancer’s strengths—and weaknesses. When you’re doing fast jumps, it’s easy to lose your turnout, let your feet flop or forget to use your plié. Don’t just muddle through! Instead, slow down and figure out why you’re having trouble. Dance Spirit talked to Peters and two fellow professionals about the most common petit allégro problems, and what to do to give your small jumps a lift.
If you lose your turnout during petit allégro, you probably aren’t supporting yourself properly at barre. Kay Mazzo, a teacher at the School of American Ballet, suggests removing your arm from the barre intermittently as you work, to make sure your weight is in the right place. “It should be over your toes,” she says. “That forces you to pull up from the tops of your legs and hips to maintain your turnout,” rather than twisting from your knees. And be sure your back isn’t swayed, another sign that you’re not rotating from the correct place.
Lifting your heels in plié before you jump will also affect your turnout. “As soon as that happens, you have less surface area to push from, which makes it more likely that your feet will turn in,” says San Francisco Ballet School teacher Damara Bennett. As you plié in fifth position to prepare for a jeté or an assemblé, think of keeping your entire foot on the floor before you brush and leading with your heels as you jump—especially if the movement includes beats. “That will create a scissoring side-to-side motion,” says Peters, “instead of turned-in legs that go front to back.”
Alexander Peters showing off his perfect petit allégro (photo by Alexander Iziliaev, courtesy Pennsylvania Ballet)
A good plié is the foundation of petit allégro. “Dancers who don’t use their plié correctly end up bouncing all over the place like a yo-yo,” Mazzo says. “There’s no control.”
You might think that since the steps are so fast, there’s no time to plié. But trying to jump with straight legs will actually slow you down. When there’s no elasticity in your legs, “the momentum gets stuck,” Peters says. “A smooth plié will absorb the shock of the jump and keep you moving in the right direction.” Accent the “down” part of the step, and each transition will happen more efficiently. “I think of hanging the position in the air for a second, but getting back to the floor quickly,” Peters says.
Floppy feet can ruin even the most impressive petit allégro combinations. “Make sure your toes are pointing right underneath you, so it doesn’t look like a fish dangling,” Peters says. “Dancers also tend to forget about the second foot in glissade, so it ends up looking like a club.”
Thinking about your feet will help with noise control, too. “You’re not just bouncing up in the air and slamming down,” Mazzo says. “Especially for girls in pointe shoes, be sure to roll all the way through the toes and metatarsals as you return to the floor,” which will keep your shoe boxes from making clomping noises.
Poor Port de Bras
It’s easy to focus on your fast-moving legs and feet and forget about your arms. Sometimes, port de bras troubles stem from coordination issues. “In petit allégro, the arms have to work a little faster than the legs in order to get to each position at the right moment,” Bennett says. In a simple jeté, for example, the arm should come down while you’re still in plié and lift to first by the time you’re up in the air. If you’re having trouble, work on the feet and épaulement first, keeping the arms in fifth en bas. As you become more comfortable with the legwork, add in the arms, thinking about when each arm should arrive where.
Trouble with port de bras can also be a sign that you’re not supporting your back correctly. “Think of the top of your body going slightly forward when you jump,” Mazzo says. “If your arms are behind you, they’ll be a hindrance and not a help.” Lift your elbows and send energy out through your arms and fingers as you jump, keeping your back broad and open.
When done well, a serene penchée can be magical. But while it's meant to look effortless, the extended arabesque is deceptively difficult to master, requiring control, strength and flexibility. DS talked to three professionals about the most common penchée problems—and how to avoid them.
When I first started learning August Bournonville’s Flower Festival in Genzano pas de deux as a young student, I figured it’d be easy enough. There weren’t any complicated lifts or balances; it seemed simple. But when my turn came to try the piece, I had to stop partway into the coda, gasping for breath. The brisés and ballonnés that were supposed to look so light left my legs feeling like jelly. There was no preparation for any jump—I was expected to power through the intricate footwork by the force of sheer will. And all the while, my instructor was calling out, “Soften the arms! Stop making it look like work!”
The Royal Danish Ballet's Alexandra Lo Sardo and Alban Lendorf in Bournonville's Napoli (photo by Costin Radu, courtesy RDB)
Bournonville was the master of deceptively difficult choreography. His dances, which are still performed around the world, emphasize harmony—a balance of laser-sharp precision and serene grace that leaves audiences smiling. Conquering Bournonville’s meticulous footwork while maintaining an open, gracious épaulement will take time, but you’ll be a better dancer for it.
The Man Behind the Moves
Born in Copenhagen in 1805, August Bournonville is considered the father of Danish ballet. As a dancer, he performed at the Paris Opéra and in London before returning to Denmark as a soloist at the Royal Danish Ballet. Bournonville was known for his buoyant jump and masterful mime—the qualities that would come to define his choreographic style.
In 1830, Bournonville became ballet master at the RDB and went on to direct the company for nearly five decades. During that time, he staged about 50 ballets, dozens of which are still performed by the company. Among his many masterworks are La Sylphide, Napoli and Flower Festival in Genzano.
Bournonville’s choreography is known for its effortless quality. While his ballets demand powerful grand allégro and brilliant batterie from both male and female dancers, his style also requires soft épaulement, with the arms rounded and low. The head and upper body frequently gesture toward the working leg to bring attention to its movements.
Today, the RDB remains the primary home of Bournonville technique, but it’s also taught as part of the curriculum in many ballet schools around the world. Marianna Tcherkassky, a ballet mistress at Pittsburgh Ballet Theatre, gave masterful performances of Bournonville’s La Sylphide during her days as a principal at American Ballet Theatre. She developed her love for Bournonville after taking classes from former Royal Danish Ballet dancer Stanley Williams at the School of American Ballet. (Williams introduced many American dancers to the style.) “What I loved about it was playing with the light and shade of movement, which is so indicative of Bournonville,” Tcherkassky says. “You’re doing small bourrée steps low to the ground, and then you explode into the air.”
How to Do It
The Royal Danish Ballet's J'aime Crandall in La Sylphide (photo by Costin Radu, courtesy RDB)
For most dancers, Bournonville’s petit allégro poses the biggest challenge. Sylvia Deaton, now a corps member at Boston Ballet, studied Bournonville at the Royal Danish Ballet during an exchange program and found that it was important to nail down the choreography’s footwork separately from the port de bras. Tcherkassky remembers Williams emphasizing rolling through the feet and using deep pliés to absorb the rapid-fire movement of the lower body. “You use the floor to land like a cat,” she says.
Think about radiating the warm, genuine presence that defines Bournonville, too. Many story ballets are filled with princesses, but Bournonville tends to emphasize the human aspects of the dancer. Tcherkassky remembers rehearsing a variation from Napoli with Williams. “At the end, I finished with a flourish,” she says. “He said, ‘No, you’re done. You give it; you don’t have to sell it.’ ”
Seo Hye Han in Boston Ballet's The Nutcracker (by Gene Schiavone)
It’s the end of class, and you’re whipping through a diagonal of piqué turns. You spin across the floor as fast as your body can move, propelled by the thrilling coda music. Everything feels great—until you finish, and your teacher gives you a long list of corrections. Apparently, your piqués didn’t look as good as they felt.
Piqué turns can be one of the most fun steps in classical ballet. But because the mechanics of the turn are simple compared to other types of pirouettes, it can be tempting to go for quantity (speed and multiples) instead of quality. Take the time to polish the smaller details of the turn. Soon you’ll be flying across the floor and looking clean and precise.
The Nuts and Bolts
Whether you’re new to ballet or you’ve been studying for years, it never hurts to break piqué turns down into their basic components. Doing so will make you conscious of maintaining correct technique and placement every step of the way.
Larissa Ponomarenko, ballet master at Boston Ballet, suggests starting in a good plié with your body weight over the supporting leg, so the push onto demi-pointe or pointe is well controlled. “Your hips should travel from the supporting leg over to the working leg in one smooth movement,” she says. “And the piqué should happen on a straight leg. If you’re going to the right, the right heel and the top of the right leg lead the turn.” The left arm, left shoulder, left side of your rib cage and left hip should stay in line with each other, helping to bring your body around.
As you reach the halfway point of the turn, keep your shoulders down and neck relaxed as you spot your head. At this point your arms should arrive in a neat first position. Your left foot should stay attached to the right supporting leg just above the back of the knee. During the last quarter of the turn, the left foot should remain attached to the leg for as long as possible as it slides down toward the floor.
The most common problems with piqué turns are easily fixed—with some extra attention. If you tend to piqué onto a bent knee, or let it relax during the transition between turns, try thinking of having a “peg leg”—one that never bends, and a foot that never stops pointing when you’re on pointe. “If you’re hyper-extended, it’s a bit more difficult to get over your leg when it’s truly straight,” says Frances Chung, principal at San Francisco Ballet. “You have to really step out and use your back foot to plié and push as far as possible.”
Do you lift your hip as you bring your foot into retiré? Make sure your knee doesn’t rise higher than the crease of your hip. “You want a high retiré without compromising your hip placement and throwing off your balance,” says Chung. “I try to relax my hip as much as possible and draw just my toe up.”
If you have trouble spotting and tend to get dizzy, make sure you have a clear object to focus on each time you bring your head around, and think about fully relaxing your neck. “Imagine you’re disconnecting your head from your body,” says Callie Manning, principal soloist at Miami City Ballet. “Think of your head as one thing and your body as something else, instead of them all going together to the same place.”
Taking It to the Next Level
Once you’ve mastered basic piqué turns, you can add a greater degree of difficulty by throwing in some doubles and varying your direction or speed. “When I do a double, I bring my foot to retiré as soon as possible to make sure I can fit both turns in time with the music, and I spot twice in a clear rhythm,” says Chung. Manning thinks of not stepping too far out when she does a double piqué turn. “You have to almost stop your forward momentum or else you’ll start falling out of the second turn,” she says. To piqué very fast, Manning lowers her leg into a coupé position, rather than retiré, and keeps her arms out to the side—both of which save time in a quick string of turns. She also thinks of darting rapidly onto pointe.
You can change up your port de bras, too. When Chung does a string of piqué turns, she’ll keep her arms in demi-seconde for the singles and then snap them into first position for the doubles to add a little visual interest. You can also try turning with your hands on your hips—which might remind you to keep your hips down, too—or your arms in fourth position. Usually dancers lift the right arm (if they’re turning to the right) because it helps pull up the supporting side.
Pacific Northwest Ballet's Lesley Rausch in The Sleeping Beauty (by Angela Sterling)
Different Piqués for Each Ballet
How you approach piqué turns should vary from one ballet to the next. They can be used to help develop a character, or danced as a pure reflection of the music. Here are a few well-known piqué passages and advice on how you can make them speak.
In the Act I solo from Giselle, Giselle’s circle of piqué turns reflects her joyous nature and love for Albrecht. “She is on the cloud of love, on a cushion of air!” says Boston Ballet ballet master Larissa Ponomarenko. “Those piqué turns have to travel a lot to reflect that, with a bit of a spring onto the working leg.”
In Gamzatti’s wedding solo from La Bayadère, the double piqué turns should be grand and wide, with a voluptuous quality. “They describe her sensual beauty, as well as the wit and confidence of her high-class upbringing,” says Ponomarenko.
In George Balanchine’s Serenade, the corps of women piqué in unison in a circle, showing the pulse of the music. “You have to spot the person in front of you and maintain distance, or else there’s a huge traffic jam,” says Miami City Ballet’s Callie Manning. “It’s not about you, but about the whole stage looking the same.”