Category: For Teachers

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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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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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Improve Your Balance

In ballet, balance is a key factor. There’s more to balancing than simply holding a pose, too. Every aspect of an adagio exercise requires tremendous balance and control, whether you are holding a pose for several counts or simply moving from one pose to the next. A pirouette is a balance while turning. The interesting part about balancing, to me, is not so much the physical strength it involves, but the discipline of the mind. Both pieces are important.

Yes, you must be strong. In order to hold a balance you have to be in command of the pose and have the necessary strength to maintain it. We know that balancing at retiré is a good preparation for pirouettes. If you want to do a triple pirouette with the foot at the knee, you must be able to at least balance in that position without turning for as long as it would take to rotate three times.

When we practice balancing at the barre it is helpful to remember that the position we’re balancing in is never static. We aren’t statues; we’re living, breathing beings. There must be life and breath involved. I once had a teacher who would say that from a single balanced position, the audience must never know whether we will run off the stage, move into yet another position, or even begin to turn. This is where it’s imperative that we can adapt to those minuscule changes in order to maintain our equilibrium. Even if we feel ourselves drifting off to the right, we are able to make adjustments that put us back on our center axis without completely losing the balance.

Turns at the barre was always one of my favorite things. It’s tricky at first because you have to learn how to avoid hitting the barre with your knee, but we would do half turns, full turns, fouetté turns, both en dehors and en dedans. It was a bit like working with a partner!

I had another teacher who would come and stand next to us while we were balancing and make ridiculous movements like a chicken. Anything to make us lose our concentration and laugh. This part is what fascinates me more than the physical part. Being able to focus our thoughts on staying lifted out of the hips, breathing in and out, noticing change in the environment but sustaining our position within it—this takes a lot of practice and discipline. It’s important to stay with yourself and not worry about the person in front of you who may be doing a better or worse job of it than you.

Another point I’d like to make about balance is focusing the eyes. Just as we’re not trying to look like a stiff statue, we may find it easier at first to maintain our balance if we keep our eyes focused on an object, but it’s really good to practice moving your focus too. When I was teaching I would try to start out class with balances on two feet, then on one foot, then moving from one position to another (for example, from retiré to arabesque or attitude), or taking the arms from fifth en haut to an open V and turning the gaze away from the barre.

Key Points for Balancing:

  1. Lift out of the supporting hip. Let there be a circular energy: as your weight pushes down into the floor, lift the muscles above the kneecaps and through the thighs upward. Don’t “settle” into a balance.
  2. Keep the back wide and don’t let the shoulder blades creep towards each other.
  3. Think of lifting up and over, like your ribcage is resting on a little shelf.
  4. Focus at or above your line of sight so your chin doesn’t drop.
  5. Keep breathing and moving, adapting to minuscule changes in your body and the atmosphere.
  6. Strengthen and engage your core, the abdominal muscles.

Image file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Author Danivalcarce

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Ballet Class Etiquette

Ballet class etiquette is usually communicated clearly, and most dancers who begin as young children are taught the appropriate way to behave while in the classroom. Not only are rules—or etiquette—for class a sign of respect towards the teacher and the other students, they are necessary in order to progress through all the combinations that make up a full class. There is simply not time for a teacher to be reprimanding students or calling them back to attention every few minutes. However, you may begin taking lessons at a new studio or academy where the etiquette may differ from your former school, and it might be up to you to find out what the standard expectations are for students.

Dress Code

Many schools have a dress code. Quite a few require pink tights. This sounds easy enough, but there can be many variations: students are clever at turning a rule on its head by changing it enough to say they are following the rules, when actually they are not. You need to know if pink tights means footed, or if transitional tights, stirrup tights, or footless tights are acceptable. Sometimes a student will have on transitional tights—which, when worn over the toes are considered footed—and have them rolled up to mid-calf. When it comes to class, pink can probably encompass ballet pink, classical pink, light pink, or European pink. (Or, as it was in my case as a kid, white tights dyed into a pink that came from red food coloring!) For performances, most teachers will be painfully specific about what color pink they want and if they want the tights to be mesh, seamed, or seamless; supplex, cotton, nylon, or a combination of fabrics; Capezio, Bloch, or Danskin. To make it a lot easier, some teachers will tell you a style number to be sure you get exactly the right thing. The Danskin mesh seamed tight in style 32 is very popular, for example.

Along with tights, some schools will require that you wear a specific color leotard or a specific style: camisole, tank, short sleeve, or long sleeve. A lot of schools will not be too picky about style as long as you wear the correct color, or a solid color. Make sure you are wearing shoes that are acceptable as well. Usually this is left to the discretion of the dancer, but some teachers don’t particularly care for canvas over leather, for instance. Some want you to have a full sole rather than a split sole. Just be certain you know if there’s a preference, and make sure your shoes have the elastics sewn securely. Elastics that are tied behind the ankle or kept on with paper clips or safety pins are irritating to most teachers. You’ve been warned.

Hair and Jewelry

Hair and jewelry are biggies in ballet class. To be safe, I would say to put your hair in a bun with a hair net and plenty of hair pins and hairspray, and don’t wear any jewelry at all. Here again, there will be variations of what is acceptable at your particular school. You may be allowed to wear your hair clipped with a great big barrette so it doesn’t flop at all when turning, and it might be fine to wear earrings as long as they don’t dangle. Sometimes earrings that slip through without a catch at the back can fly out during grand allegro or turns across the floor, so use good judgment here. Click here to see a great video by dancers at the Anaheim Ballet on how to make hair buns. And a fun place to find ballet needs is at bunheads.com.

Behavior

Finally, we come to the behavior that is expected in class.

  1. No talking unless you have a question for the teacher (and questions are normally very welcome, especially in beginning to intermediate levels). This includes any kind of communication with others in class, so no miming or eye-rolling either!
  2. Do not chew gum, eat, or drink during class.Sometimes you may be permitted to get a drink between barre and center, but it’s typically best not to leave the room to do so.
  3. Do not arrive late. If you arrive during the plié combination you can usually catch up. Otherwise you need to check with the teacher to see if it’s okay for you to join or if they prefer that you just observe class.
  4. Do not yawn.
  5. Do not get impatient with yourself—this can be misinterpreted by the teacher who thinks you don’t care for their class or combination.
  6. If you have an injury prior to class, let the teacher know that you may not do everything full out.
  7. If you get injured during class or pull a muscle, let the teacher know. Get ice, if possible, and watch the rest of class from the sidelines.
  8. Do not always stand in front. Take turns.
  9. Do not always go first across the floor unless the teacher asks you to.
  10. Do your best and have a positive attitude.

Other things to note

I encourage readers to add to the list if you can think of others I omitted. Of course, cells phones and ipods are also not good to bring into class. A few pet peeves of mine when I was teaching included students who had to go to the bathroom (although there might be exceptions, just don’t do this every single class), students who wanted to teach the class or recommend steps, and students who wore sweats over their tights once class began. Again, if you have an injury and you need to wear extra clothing for warmth, get permission from the teacher prior to class.

The nicest thing about class is the end. I always thought it very appropriate when I was dancing that we would let the teacher know we appreciated class by applauding at the end. Some teachers will tell young dancers that they should “give themselves a hand” so they get into the habit of clapping after class, but I believe that this part of ballet etiquette is more a show of respect for the authority and guidance of the teacher.

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Grand Battement 4/4

If you haven’t yet discovered the piano music of Gill Civil, then you’re in for a treat! Here you can find two musical selections for grand battement in 4/4 to go along with the combination below. One is called Cavalcade, the other is Jubilee Stride. These are from her album called Dancing Keys 2.

5th position at the barre

1       Tendu devant (front)
2       Lift to grand battement devant
3       Lower to point tendu devant
4       Close 5th position
5-6    Grand battement front, close 5th
&7     Passé close 5th back
&8     Degagé side and close 5th front
1-7     Repeat side
&8     Degagé back, close 5th back
1-16   Repeat all from back

Repeat a second time with pirouette from 5th instead of passé

Music available from http://pianomusicforballet.com