ballet class
Review: Bunheads by Sophie Flack
There is almost nothing I enjoy more than pointing out that the qualities that make a great ballet dancer can be harnessed for other things—and this book is a perfect example. Sophie Flack was a dancer with New York City Ballet from 2000 to 2009, and after leaving the company she is now studying English at Columbia University. She is also the author of Bunheads – a thoughtfully crafted novel about life in the world of ballet.
Written with an authenticity that can only be garnered by experience, Ms. Flack creates an inviting cast of characters that draws the reader in right away. The main character, Hannah Ward, is a corps de ballet dancer with the Manhattan Ballet, and the story is told through her eyes. We follow her through the ups and downs of her career as she competes for roles, pushes to improve her dancing and sacrifices much of what a “normal” life would otherwise be for her first love—ballet.
As the story evolves, conflict arises within Hannah when she meets a handsome musician named Jacob. The connection between the two of them is strong, but having a relationship with someone outside of the ballet world proves to be incredibly difficult—a fact she struggles with. Hannah begins to compare her life in dance to the idea of living life without the demands of being with the company, and knows she must eventually choose which path she will take.
Ms. Flack is a skilled writer and it’s easy to disappear into the pages of this book because she has built a solid story that rings of truth and passion. By having been an insider in this typically closed world, she is able to show both the beauty of it–and the strain. Those who have experienced life in a ballet class or company are sure to find themselves nodding in recognition with the trials and triumphs Hannah faces along the way. That said, I think that Bunheads would also appeal to those outside the ballet arena. The book provides a rare peek behind the scenes into the day-to-day life of a dancer, but not in a way that would leave other readers behind.
Human Kinetics Book
My absolute favorite part of this book is the way Ms. Flack crafted the circle of friends that Hannah hangs around with in the company. The dancers that she spends every day with are at the same time her closest pals—and her toughest rivals. It makes for an unusual situation, that in ballet is actually very common. Somehow you have to learn to walk the fine line between being a competitor and a confidant. It certainly isn’t easy, and here it is captured so very well.
This is undoubtedly the best fiction book on the life of a ballet dancer that I have read in a long time and I highly recommend it. Younger dancers will find a great story that they can relate to and older dancers will be transported back in time for a bit of reminiscing. This would make a perfect gift for someone who loves dance.
Hats off to Sophie Flack for taking the creativity, determination and attention to detail it takes to be a ballet dancer and writing her first novel. I look forward to the next one.
Read more about the author on the 4dancers feature – 10 Questions With…Sophie Flack
Purchase Bunheads Here
10 Questions With…Robert Long
Robert Long
Today on 10 Questions With… we have Robert Long, a musician who plays for dancers…
1. Can you tell readers a bit about how you got into music?
I started in music the way most kids probably do. There was a lady in the village who gave piano lessons, so off I went. I was 7 or 8.
2. How did you wind up playing for dancers?
I had finished university (Mus. Bach, M.A., University of Toronto), and couldn’t find any employment.Through friends I received some contacts for ballet schools, so I decided to give it a try, even though I had no idea what to play.
3. What are the special considerations you must address when arranging music for dance class?
For me, the considerations to be addressed involve the instructor I’m working with. Some like quicker tempos, some slower; some like lengthy exercises, some shorter, and so on. Beyond that, an instructor could have personal preferences: ragtime, tangos, habaneras, adages in 4/4 instead of 3/4, continuous exercises at the barre with 4 counts to turn the middle; things like that.
4. What do you enjoy most about working on this type of music?
CD Review: Music for Ballet Class III
Mediaphorie has added another excellent ballet class music CD to their lineup with their latest – “Music for Ballet Class III” (Musique pour le Cours de Danse Classique).
It’s lovely to have original music to use, and this collection fits the bill. The tracks are expertly played by pianist and composer Ellina Akimova, who plays in France for the Ballet School of the Paris National Opéra, as well as the CNSMDP, at the CND, and at the Danse school of the conservatoire of the XVIIe district of Paris.
There is nothing quite like taking class with an accomplished pianist providing accompaniment, and if you can’t have live music, this is the next best thing. The phrasing is perfect, and the musical choices suit the exercises in a way that only someone who knows ballet well could choose, with perky music for tendus and a pretty selection for plies. Everything is well-matched.
The complexity of some of the tracks here make me lean toward recommending this CD to teachers with more advanced students. Some of the slower pieces may be a bit difficult for brand new students in terms of using the phrasing properly for movement. Advanced students will appreciate the opportunity to get into the spirit of things and practice their musicality. Akimova’s Russian roots shine through in her music, making the selections all the more beautiful.
This album features repeated tracks for easy instruction at the barre. There is a complete class here–barre and centre, with music for pointe and for tracks geared toward men.
This is what happens when you have an expert pianist at the helm–I can recommend this CD easily for ballet class. It would make a great addition to any teacher’s collection. The cost is $30, and you can find it, as well as other ballet music on Mediaphorie’s site.
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Back To Ballet: How To Re-Enter The Classroom
As many of you already know, I teach a ballet class for adults. There are quite a few places out there that have classes for returning students–but they are not all created equal. Some are very serious, while others are more geared toward getting fit. (Mine is somewhere in the middle.)
As an adult, there are some things you’ll want to consider if you are going to take a ballet class. Finding the right match can be a bit challenging, but it pays off to do a little groundwork before signing up. Here are some tips that should help:
- Observe a class if possible. Watching a class is the best way to see if you will enjoy it. If you can’t do that, see if you can try one class out before signing up for a session.
- Talk to the instructor. Ask him/her about their philosophy regarding the class. What they tell you will help you evaluate whether or not you are on the same page.
- Ask for recommendations. Do you know anyone who has taken an adult ballet class in the area? If so, inquire as to what their experience was. Would they go back? How difficult was it?
- Check the dress code. At this stage of the game you may or may not be up for wearing tights and a leotard. In either case, you’ll want to know what people typically wear to class to see if you’ll be comfortable.
- Ask about the flooring. A floor that is designed specifically for dance is crucial for protecting your body–and even more so as you age.
Once you find a good fit in terms of a studio, there are a few other things to keep in mind as well. If you haven’t taken class in some time, you may find your body uncooperative at first. In order to get back in the groove safely, take some of these suggestions into consideration–depending on your current fitness level:
- Think about just doing the barre for a week or two. Ease back in and do it with the support of the barre. Just make sure to keep the teacher informed if you will be leaving prior to the end of class.
- Stretch. Then stretch some more. You don’t have to wait for class to begin. Start now. You’ll thank yourself.
- Brush up on terminology. Things may sound vaguely familiar, yet elude you for a bit at first. Refreshing yourself on the terms can be a confidence builder. Try ABT’s Dance Dictionary online to jump-start your memory.
- Join with a friend. You can support and encourage each other through the tough times.
- Talk with the instructor prior to class. Let them know where you are at in terms of your current fitness level and prior dance training. Also, be sure to communicate with them about any injuries you have.
- Get to the studio early and warm up well. This can help prevent injuries.
Going back to ballet class after a long while away can be intimidating, but it can also be a lot of fun. Hopefully some of these suggestions will help you navigate your re-entry seamlessly.
If you are a teacher or someone who has returned to ballet class after a break–feel free to share any tips you might have!
4Teaching Tip: Little Dancers
I had been teaching already for about ten years when I realized something very important…let me go back and tell you how it all came about…
I was 29 years old and was getting ready to start my latest ballet class for 3 and 4 year olds. We were all sitting on the ground in a circle, learning names. A little uncomfortable, I uncrossed my legs and crossed them the other way.
Every single little girl there did the exact same thing.
That’s when it hit me–the power of modeling behavior with kids that age is tremendous. They mimic what you do. I had been trying hard to come up with explanations in bite-sized words that I thought the children would understand.
Turns out all I had to do–was do it.
Now this isn’t to say that you should not teach verbally. You should. But never underestimate the power of what you are doing. This includes simple things such as standing up straight and walking lightly.
Remember…those little eyes are taking it all in…
Review: Behind Barres, Volume 1 (Revised)
The CD: Behind Barres, Volume 1 (Revised)
The Details: Over an hour of ballet class music, 25 tracks. This revised CD has doubled the length of nine of the musical selections for the centre work.
The Review: The excellent pairing of Judy Rice and Paul Lewis team up again for another wonderful ballet class CD featuring selections by Tchaikovsky, Delibes, Minkus and various others. The tracks are infused with emotion and Lewis once again delivers a top-notch performance; although one would expect nothing less from this accomplished ballet accompanist.
The 25-track listing includes a full barre that is suitable for any level class. Centre music is varied and offers petit, medium and grand allegro as well as an adage and pirourette selections. Sample tracks can be heard on the website, including tendu and a medium allegro. It’s a good sampling of what the album has, so if you are interested, be sure and have a listen.
This CD is a good investment since it can be used for all levels and the track lengths are long enough to used in advanced classes. If you are looking for dramatic arrangements, this is also a great pick–many of the selections are very moving. (For something lighter, take a look at Under The Palms.)
Teaching Tip: Challenging Your Students In Class
Sometimes it is good to give your students a bit of a challenge in ballet class. Change things up a bit. Students get used to certain patterns, and breaking from the routine will keep them from getting complacent.
For example:
+ Start class facing the opposite way from which you usually begin at the barre.
+ Have students face away from the mirror to do their exercises in the center.
+ Teach a combination, then have the students reverse it.
+ Do exercises in both single and double time.
+ Have students come up with their own simple combinations.
Just throwing a new thing into the mix will help keep your dance classes lively. It will also challenge your students to think outside the box and stretch a bit as dancers. Try to do things like this from time-to-time and the result will be a happier class that is more able to respond to change.
Review: Musique Pour Le Cours De Danse Classique IV (Music for Ballet Class IV)
The CD: Musique Pour Le Cours De Danse Classique IV (Music for Ballet Class IV)
The Details: Piano Composition & Interpretation : Ellina Akimova (Bolchoï Dance Academy 1990-1995)
Exercises & Instructions : Franciska-Elisabeth de Mikhnevitch (Opéra of Paris 1960-1984)
Sold by: Mediaphorie
The Review: I have listened to this CD now over 30 times and am currently using it for my adult ballet class. I have found it to be very refreshing–the compositions are original and extremely well-played by Ms. Ellina Akimova. There is music here for an entire ballet class, and the barre tracks are all repeated for the convenience of the instructor.
Although the music is clear and measured, this is not a CD I would use for a beginning class. It is probably too complex for new students who do better when phrases are repeated often and the music is simple. For more advanced students, however, I found the tracks to be quite inspirational–especially those for the center work. The barre music is also a departure from the typical ballet class fare.
One of the best features of this CD is the fact that the tracks are lengthy. Some ballet class CDs have short tracks that necessitate pausing the exercise to re-start the music. This is extremely distracting to the students and teacher alike. More advanced classes have longer exercises both in the barre and the center, and this CD allows plenty of time for longer combinations.
There is also a nice mixture of music here so that you can get a lot of use out of the CD. There are tracks for pirouettes, petite variation, tours en l’air and adagio, among many others. This will allow you to mix and match exercises and create several different classes while still utilizing the same CD.
Ms. Akimova’s skill is considerable, and all of the music is completely measured and steady. I’ve always appreciated the difficulty that goes with playing ballet music for students. In order to do it well, you have to be able to play flawlessly, yet infuse some emotion into the pieces you are interpreting. This is no easy task, but it is done extraordinarly well here. The tracks for small jumps and tendus have a sprightly feel to them and the slower ones have an ebb and flow that encourage artistry.
I have not heard the other CDs in this series (I, II, III), but based on my experience with this one, I would definitely say they would be worth investigating. I’ve been very pleased with this one and recommend it without hesitation.
My students enjoy it too.
