Category: Articles

Posts for teachers and students about various topics.

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Cultivating Excellence: How to Develop Leadership Skills in Ballet

Guest post by Emily Graham

Leadership in ballet is not merely about directing a company or studio—it’s a journey of constant self-improvement, resilience, and adaptability. In an ever-evolving art form, the ability to lead with both artistic vision and strategic thinking is essential. This article explores essential resources to help ballet leaders, from artistic directors and principal dancers to choreographers, hone their leadership skills. From enriching books to specialized training courses, here’s a guide to the top opportunities that can support your growth as a leader in the ballet world.

Mastery Through Books

In ballet, leadership is deeply intertwined with artistry, discipline, and vision. Books are a timeless way to develop these qualities by offering insights into the psychology of leadership, strategic thinking, and personal growth. Leaders can look to literature that connects the nuances of ballet with broader leadership principles.

  • Books on Leadership: For a foundational guide to personal and professional growth, The 7 Habits of Highly Effective People by Stephen R. Brood outlines timeless principles every entrepreneur should master to navigate uncertainty and scale with clarity.
  • Biographies of Iconic Ballet Leaders: Learning about the lives of legendary ballet figures, like George Balanchine or Margot Fonteyn, provides rich examples of leadership in the dance world. Their stories can shed light on overcoming challenges and nurturing talent in a competitive environment.
  • Emerging Trends in Artistic Leadership: To stay current, leaders in the ballet world should read about emerging trends in arts management, such as inclusive casting or the integration of digital platforms with live performances. These shifts require leaders to be innovative and adaptable.

Online Courses for Skill Enhancement

Digital learning has opened up a wealth of opportunities for ballet leaders to refine their craft. Online platforms offer flexibility, allowing you to enhance your leadership skills while maintaining a demanding schedule. Whether you’re focusing on emotional intelligence or strategic thinking, there’s a course to fit every need.

  • Platforms for Leadership Development: Coursera and LinkedIn Learning offer courses that cover a range of topics relevant to ballet leadership, from organizational behavior to team management. These courses provide practical tools and strategies that can be implemented in your role, whether you’re managing a dance company or leading a ballet school.
  • Specialized Leadership Programs for the Arts: Institutions like the Juilliard School and The New School offer leadership and management courses tailored to the arts. These specialized programs teach ballet leaders how to manage budgets, build donor relationships, and cultivate a culture of creativity and discipline within their organizations.
  • Interactive Webinars and Workshops: Participating in live sessions can allow for real-time interaction with peers and experts in ballet management. These interactive workshops often feature discussions on how to balance artistry with the operational demands of running a company, an essential skill for any ballet leader.

Articles and Case Studies

Staying up-to-date on current trends and case studies in ballet is a vital part of leadership development. Industry publications and articles can keep you informed about the latest shifts in the dance world and how other companies are leading the charge.

  • Ballet and Arts Management Publications: Publications like Dance Magazine and The Art Newspaper provide valuable case studies, offering insights into how ballet companies around the world are tackling leadership challenges, such as adapting to changing audience expectations or responding to social justice movements within the art form.
  • Case Studies on Leadership in Ballet: Dive into specific examples of how prominent ballet companies have navigated leadership transitions, innovative performances, or financial crises. These stories can offer lessons in resilience, vision, and the delicate balance of managing artistic and business needs.
  • Ballet Blogs by Experts: Following blogs by professional dancers, choreographers, and ballet administrators can provide ongoing learning opportunities. These resources often feature personal stories, industry advice, and fresh ideas that can inspire new leadership approaches.

Networking and Peer Learning

The ballet industry thrives on collaboration, and leadership is no different. Engaging with other professionals through networking opportunities allows for the exchange of ideas, experiences, and strategies. Learning from peers can expose you to new approaches and solutions for challenges you face as a leader.

  • Industry Events and Seminars: Attending conferences, masterclasses, or festivals provides a space for networking with other artistic leaders and discussing best practices in ballet management. Whether you’re attending a gathering like the International Ballet Festival or a local workshop, these events offer inspiration and practical takeaways for leadership.
  • Mastermind Groups for Artistic Leaders: Participating in a mastermind group with other ballet directors or choreographers offers a platform for sharing experiences and discussing industry challenges. These groups can lead to innovative problem-solving and collaborative opportunities.
  • Mentorship in Ballet: Having a mentor or being a mentor can be an invaluable part of leadership development. A senior mentor can offer advice on navigating complex issues in both the creative and operational sides of ballet, helping you avoid common pitfalls.

Practical Experience

No amount of reading or learning can replace the value of hands-on experience. Real-world practice allows leaders in ballet to test their skills and develop a deeper understanding of the art form’s intricate dynamics. By immersing yourself in practical situations, you can refine your leadership abilities in a way that theory alone cannot provide.

  • Leading Dance Projects and Initiatives: Stepping into a leadership role within a dance project or event is an excellent way to gain practical experience. Whether organizing a performance or managing rehearsals, these tasks provide a direct application of leadership skills in a creative environment.
  • Collaboration with Other Dance Professionals: Cross-collaboration between dancers, choreographers, and administrators offers invaluable experience in handling different aspects of ballet leadership. It also deepens your ability to mediate between artistic needs and organizational constraints.
  • Feedback and Self-Reflection: Actively seeking feedback from peers and dancers, followed by self-reflection, is essential for continued improvement. The ability to evaluate your decisions and their impact on the company’s performance helps refine your leadership approach.

The Importance of Lifelong Learning

The journey toward leadership excellence in ballet is ongoing. Just as dancers continuously strive for technical and artistic perfection, ballet leaders must also engage in lifelong learning. By regularly engaging with diverse resources, from reading to networking, you ensure your leadership stays fresh, relevant, and adaptive to the evolving landscape of ballet.

Whether through books, online courses, or real-world experiences, every resource you explore contributes to your growth as a leader. By remaining open to new ideas and approaches, you position yourself—and your company—for long-term success in the ballet world.

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Back in the Classroom

Teacher demonstrating ballet steps

I spoke to a Teaching Methods class this week. They’re all young college students preparing for a career teaching dance, and the professor invited me to talk and answer questions about my teaching career. She especially wanted them to hear about how my dance career detoured to 23 years of working at a bank before getting back on track. It was wonderful!

It’s been YEARS since I’ve posted on this website. I’ve felt like an imposter because I hadn’t been in the classroom or on the stage in such a long time. When I could leave the corporate world in 2024, I returned to teaching. Now I’m an instructor at the Charlotte Ballet Academy in North Carolina. I’m teaching 9-12-year-olds in the lower school. During The Nutcracker, I worked backstage getting kids in costumes and leading them to and from the stage for several shows.

The important thing to note is that even though I’d been away for a very long time, I remember everything. I told the directors of the school how out of shape I was, that I was worried I couldn’t demonstrate because when I pointed my foot, it immediately cramped. I felt overweight. They sent emails back, allaying my concerns, saying that my resume made me more than qualified.

I needed six months, but I returned to teaching within two weeks of the interview. It wasn’t easy. My feet cramped, my legs ached, and my HIPS! Oh, my hips would have cried if they could. It’s impossible to teach kids at that level without demonstrating, and it’s impossible to demonstrate without standing in 5th position. I’m teaching three 90-minute classes a week, plus an hour of pointe strengthening/beginning pointe, as well as substituting occasionally at this school and another school nearby. My hips still hurt when walking up steps after teaching, but six months later I’ve lost weight and gained strength and confidence.

When I started this website, it focused primarily on combinations for ballet class. I’ve compiled a lot of combinations into a book, Classical Ballet: Ten Complete Advanced Classes, which is available on Amazon in print or kindle and is selling well. As years went by without stepping foot in a classroom, I didn’t feel confident giving advice to teachers by writing posts. But I’m back!

There were a lot of points made, and questions asked/answered in the Teaching Methods class, and I think I’ll break them down into separate posts because there are stories that go along with each. The interesting thing is that while I always felt dance prepared me for so much of what I had to face in life, on the flip side, the living that I’ve done has contributed to what I bring to the classroom in new ways.

Having kids of my own is probably the biggest factor. I’m more aware of issues that students face, and it tempers my interactions with them. Some are coping with the death of a parent, others with eating disorders or dyslexia. I’m doing my best to offer them a supportive and positive environment to learn new skills and improve their technique. It doesn’t matter if they pursue a professional career in dance. I am focusing on today, and regardless of where dance takes them, I hope to teach them that discipline begets progress and that a stick-to-it attitude will enable them to achieve their hearts’ desires.

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Book Review: Finis Jhung Ballet for Life

Finis Jhung is a gem, in a nutshell. He has done so much for the art of ballet, mainly through his teaching and teacher training. He is in his early 80s and continues to teach ballet classes in New York City to packed classrooms.

He is an inspiration to me

…someone who stopped teaching ballet due to life circumstances beyond my control but who never managed to get back in front of the class because I felt unable to properly demonstrate. Nineteen years later I tell myself I’m too old to get it back, but when I learned all of Finis’ story I realize that being 50 is not the end of life for me and ballet. It could really be just the beginning if it’s something I truly desire and if I’m able make positive action toward making it a reality again.

I was a decent dancer at the regional ballet company level; nothing extraordinary, but I had clean technique and loved recording combinations in a notebook from classes by teachers whose combinations were interesting. Creating beautifully crafted combinations was a love of mine, and that led me to designing my website where I shared these, and then I put together a book of combinations for 10 intermediate to advanced classes.

Finis gives me hope and confidence, too. Even though I have an MFA in dance and felt that teaching was something I was good at, when I published my book and created my LinkedIn group I started feeling “small” within a world of critical teachers who know so much more about anatomy and kinesiology or who believe Vaganova exercises are superior to any others. I began to wonder if sharing my combinations wasn’t as valuable as I thought it should be to other teachers. But Finis makes a living teaching adult beginners and teaching ballet teachers how to teach ballet, so why shouldn’t I share my carefully crafted combinations with teachers whose strong suit maybe isn’t ballet?

Finis Jhung has released a beautiful memoir

It is filled with pictures from his dancing days, his teaching days, his surgery-recovery days, and his family days. Today all 54 reviews on Amazon are 5 stars. The odd-numbered pages of the book have a photograph with Finis’ remembrances about the period in his life on the opposite, even-numbered page. His is a fascinating story, as he knew at a very young age and after seeing The Red Shoes that he wanted to be a dancer. Even though there wasn’t a lot of ballet training for a pre-professional where he grew up in Hawaii at the time, he was able to learn some basics and was accepted into the ballet program at the University of Utah.

I’m taken by how lovingly he talks about his early teachers, even though they weren’t world-class teachers. He describes his 45 minute ballet class during his intermediate and high school years and what he does before rehearsals. “My warm-up is to do a couple of grand pliés at the barre; then, grasp an ankle and life that leg as high as possible in second position; and then, holding the leg up, hop across the room on one foot. I repeat it to the other side.”

At the University of Utah

He studied ballet with William F. Christensen along with fellow students Michael Smuin, Gary Horton, and Philip Keeler. It’s sweet when he says,

Now I know for sure that I made the right decision in choosing Utah. I am no longer the only male ballet dancer I know.

 

He relates that Mr. C is just 53 and can still demonstrate double tours en l’air and fabulous pirouettes. He learns character dancing and how to use his plié to jump and how to spot quickly to turn.

I found it telling when he writes, “Unfortunately, when I go to New York in 1960, I’m going to forget all this good stuff, as I try to transform myself into THE PERFECTLY TURNED-OUT RUSSIAN-TRAINED DANCER.” One thing that has made Finis so popular as a master teacher is the fact that his he teaches dancers how to work within the framework of their own bodies and not force turnout. He teaches dancers how to use connecting steps to dance beautifully, and his use of isometrics allows the muscles to work in a functional, elastic manner. He tells his dancers that to rise up on demi-pointe they must push the toes down into the floor. Instead of thinking of rising, he tells them to think of pressing down in order to rise.

Jhung joined the army in 1960 but after three weeks he is offered a job dancing on Broadway in Flower Drum Song.

Later he is chosen to dance in the film version, and tells us that we can see Love, Look Away!—Reiko Sato, James Shigeta! on YouTube, where he is with the second group of devils who jump from a rock. He also recommends watching Grant Avenue—Flower Drum Song, which he considers one of the best musical theater numbers on film. I’ve bookmarked these pages in the book so that I can check out these videos later.

Finis Jhung danced as soloist with the San Francisco Ballet, the Joffrey Ballet, and as a principal dancer with the Harkness Ballet. He learned a lot about ballet technique by watching Erik Bruhn, who also allowed him to videotape his variation from the Don Quixote pas de deux, which he then dissected and analyzed. Finis explains that at the time, most teachers simply taught class without much technical explanation of technique. Dancers who were intuitively gifted kept their secrets from others, making ballet elitist and a “bitchy” art.

Finding Buddhism and his future wife

During this time of dancing with the Harkness Ballet, Finis learns about Buddhism which he practices from that point on throughout his life. He learns that by changing his thoughts and actions so they are positive, his outward circumstances can also become positive. He also meets David Howard who teaches the dancers the Joanna Kneeland Technique. She shows dancers films of dancers in slow motion and helps them use physics to make their dancing better. Later, Finis would sometimes teach David Howard’s ballet classes in NYC when he needed a sub.

Finis met his wife while dancing with the Harkness Ballet, and he and Yuki married in 1972 and had a son together, Jason. Their marriage didn’t last but they parted amicably. (Finis’ son is now the operations developer of Ballet Dynamics, Inc., the company Finis started, and has helped him produce many of his DVDs. We also owe him our thanks for encouraging his father to write his memoir!)

When Finis first started teaching, he said,

My goal is to make ballet easier to understand, not only for professional dancers, but also for anyone who wants to learn to dance…my teaching philosophy is based on these Buddhist ideas: Life is full of infinite possibilities and changes from moment to moment. The negative can be changed to positive. Once you learn the laws of dance (the mechanics of movement—which muscles to use, how to use them, and when to use them), you will be your personal best.” Finis respects his students and knows that many are going off to a full day of rehearsals after his class and might have performed the night before, so he is considerate about how he plans his classes.

 

His classes bring in Broadway stars and leading dancers from NYC Ballet, American Ballet Theater, the Joffrey Ballet, Eliot Feld Ballet, Martha Graham Dance Company, the Twyla Tharp Dance Company, and the Paul Taylor Dance Company. He also teaches many professional hopefuls and amateur adult beginners. “I remain committed to re-evaluating and developing uniquely innovative teaching methods that make ballet more enjoyable and easier to learn while preserving the essential qualities that make it a great performing art.”

Finis founded a new company called the Chamber Ballet U.S.A

and directed it from 1981-1986. His ballet mistress Barbara Forbes writes,

Finis was a revelation to me when I first took his class during summer visits to New York from New Orleans in the 1970s…his teaching helped students to meet the aesthetic of classical ballet while enhancing their physical, emotional, and even spiritual wellbeing. He urged us to take risks. He taught with immense generosity, abundant encouragement, and the seeming belief that everyone has unlimited potential. Ease and flow went hand in hand with power and strength; efficient use of energy reduced tension and strain; letting go of pretense invited us to dig deep as artists. Attentive practice brought freedom—in dance and also in life.

 

One of the company dancers, Christine Redpath, writes, “I responded profoundly to two basic principles that Finis taught all of us—from Broadway dancers, to modern, to other bunheads. The first was the idea that when your skeletal body is in alignment, you are in your most efficient state for any movement. Out of alignment, the body will still manage by overcompensating—gripping extra muscles that aren’t necessary when you’re aligned. The second principle was that of opposition—which exists in science, in nature, in everything. For example, if I do à la seconde with my right leg, then the left side needs to move away from the right side. The same principle applies to the vertical, for turns and jumps. Press down to go up.”

Teaching and Ballet Dynamics, Inc.

After his company folded, he continued teaching, and in 1994 his life changed when Denise Daniele, owner of the Denise Daniele Dance Studio in Brick, NJ asked him why he doesn’t make videos for teachers. Since then, he has created nearly 50 videos with his business, Ballet Dynamics, Inc! He also has released several CDs for ballet class that I personally used when I taught ballet. The longer lengths allowed us to do a combination at the barre on one side and then turn and repeat it on the second side without having to restart the music. The CDs also include several tracks for tendu (or degagé, etc.) in different time signatures and tempos. Finis says that since September 2017, in 22 years he has sold more than 116,000 items and grossed over $4 million in sales!

In 2007 and 2008 Finis says he finally found his niche teaching adult beginners.

He teaches them how to internalize the movement and work with the muscles in the brain along with the muscles in the body so that they aren’t simply striking superficial poses. At the end of his book in chapter 14 (called Reflections) he has compiled pictures and stories written by 27 of his adult students. They are journalists, ice skaters, educators, editors, executives, authors, professors, designers, doctors, psychologists, and dance teachers.

If you order the book from his website you can receive an autographed copy of his book. https://finisjhung.com/shop/memoir/

Subscribe to his YouTube channel for videos with titles such as Ballet for Beginners, Teacher Talk, Turns, Jumps, Stretch (includes Self Massage with Finis Jhung, Age Defying Therapeutic Stretches for Older Adults, Meditative Stretching, and 10 Minute Stretch Break), Finis Jhung Ballet Technique Series (levels 1 through 5), Finis Jhung Classic Classes, and Behind the Scenes.

Here is his channel description:

“Welcome! I’ve been teaching ballet in New York City since 1972. I’ve run my own studio and have taught at all the major studios in NYC and today specialize in teaching adult beginners at The Ailey Extension. Here you can see previews of my 48 instructional videos, clips from my 2016 Teacher Workshop, plus Behind the Scenes looks at choreography for my forthcoming video series “The Adult Ballet Student Dances at Home”.

It’s never too late—for anyone of any age, physical type, or background—to learn ballet. From head to toe, here is a fresh new look and a working knowledge of the fundamentals of classical ballet. Learn the basic positions and movements that are the essence of ballet dancing. The exercises are performed slowly with both hands on a portable barre in front of the mirror. Learn the HOW and WHY of ballet movement.”

Thank you, Finis Jhung, for your inspirational life and contributions to the art of ballet. Thank you for raising the bar for ballet teachers everywhere and enhancing the training they are able to give to their students in all parts of the world. Your legacy to the ballet world will surely last as long as the art form itself lasts.

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Dancers and Weight: A Delicate Balance

Weight is a topic many dancers tend to dwell on. I first became conscious of my weight when I was studying ballet at Butler University in the early enrollment program for high school students. Once a month we were weighed, and a few dancers were counseled based on the numbers the scaled returned (either too high or too low). Fortunately at that time my weight was right where it was expected to be, and I didn’t have to think about it much.

As a teacher I was never in a position to demand any student to focus their attention on their weight. For the most part, I taught kids who were still growing and really shouldn’t be worrying about it. Now that I have my own children, I think it’s important for them to concentrate on eating right and getting exercise however they enjoy getting it, but I would be concerned to learn that either of my daughters, at ages 12 and 14, thought they needed to go on a diet.

When I was a young dancer I had heard about people being anorexic or bulimic, and I was aware of the heightened sensitivity in the room whenever a teacher made mention of someone’s weight. I knew of one girl who was taken to the hospital to have her stomach pumped, and another who was addicted to exercise and couldn’t gain weight no matter how hard she tried or how much she ate. For myself, I was always grateful that these were not issues I had to worry about. During my undergraduate years I was a healthy weight for a dancer, always around 100 pounds at 5’2”. But when I was doing graduate work I lost weight as I went through a period of severe depression. I was working all day at the university and most evenings with a local company, teaching classes and dancing at least eight hours a day, if not more.

At that time, I went to the campus health center for a sinus infection and was very abruptly introduced to fear, handed on a platter full of desserts and whole milk (just kidding) from the doctor who threatened to put me in the hospital because I was under weight. I ate regularly, although the depression had made me less hungry, but I felt that if I had the energy I needed to get through the rigorous schedule I was maintaining then I was fine and the doctor had no right to intrude. They were very serious, however, and thus began a new experience for me: eating as much dessert and drinking as much whole milk as possible. Really. It was very interesting, and since I have a sweet tooth it was easy to manage, but I think the best help I got was by visiting a psychiatrist and being put on anti-depressants. My appetite returned to normal and my weight did, too. And here is some good information on kicking the sweet tooth habit.

I had a friend I danced with at the Lexington Ballet who struggled with her weight constantly. After she quit dancing (and stopped worrying about being overweight), she lost weight! So there’s something to be said about obsessing too much over it. Stress can definitely swing the scales upward. When you’re under stress, a hormone called cortisol is released. This prepares us for the fight or flight response. Read more here to find out about that.

For dancers today, I would recommend making healthy decisions if you feel you have a weight problem. Eat many fruits and vegetables and cut back on fast food or foods with lots of preservatives. There is a great post on healthambition.com about the best foods to eat if you want to lose weight. Drink plenty of water. Sometimes when we feel hungry, we may actually just be thirsty. It’s difficult for us to recognize the difference between hunger and thirst. And a good rule of thumb in all things is moderation. Taking anything to an extreme is usually not a healthy choice. Click here for some healthy tips on diet.

Do any other dancers or teachers have any insights to add? Please leave a comment below.

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With Ballet in My Soul, by Eva Maze A Book Review

With Ballet in My Soul book cover

I had the pleasure of receiving a pre-publication copy of Eva Maze’s memoir, With Ballet in My Soul: Adventures of a Globetrotting Impresario to review. The book itself is lovely—a large, square paperback with glossy pages, filled with pictures from the author’s long and illustrious career spanning forty years.

Never having heard of her before, Eva Maze’s life story is one I read about in wonder. She’s the sort of quiet hero whose work was appreciated by millions who probably never saw her or heard her name. Eva didn’t get to pursue a career in ballet as she’d dreamed due to a childhood illness, but her love for ballet propelled her into an association with world-class artists as a booking agent. Her book is fascinating, taking the reader from places like Romania to India, Germany, China, Japan, Italy, France, and the United States.

It was personally exciting for me to see pictures of a young Marina Svetlova, who was one of my ballet teachers at Indiana University in the late 1980’s. We called her Madame. She was a tough teacher and I always got the impression that she wanted us to know what it was like to work hard in ballet class, as she had. In this book I learned that she had danced with the Metropolitan Opera Ballet and she, along with Anton Dolin and John Gilpin were the first dancers Eva Maze ever booked—in 1953 and in India, no less!

I truly adore this book and am inspired by her love of life and the arts, and her ability to swim 20 laps every day well into her nineties! This book is sitting on my coffee table now—it’s too beautiful to put on a shelf just yet. It will be available for purchase April 1, 2017.

See Moonstone Press for more information, and pre-order the book online from Amazon here.