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Yes, Ballet Technique is Still Essential

Type:

Teacher article

Category:

Dance Teachers

In a time when young dancers are influenced greatly by the dance and dancers which they see on T.V. and at competition, it is only natural that they will want to emulate it and consider it the epitome of excellence. The overload of tricks, overstretching and hyperextension, unattractive foot and leg positions, etc. all have the potential to instill bad habits and poor technique if we as teachers do not hold the standard of proper ballet technique essential to one’s training. So how do you answer the question, “Why is ballet still important?”

Classic ballet technique is and will always be fundamental to any other dance form. While genres like hip-hop and African may not directly associate with the elements of ballet, the bottom line is ballet is THE genre which will help a dancer’s body of any genre become strong. It is where dancers will understand placement, alignment, breath, control, poise, posture, balance, gracefulness, agility, strength, flexibility and stamina.

It is where a dancer begins to learn vocabulary and discipline. It’s where they learn phrasing and musicality. It’s where they learn to stretch and work their feet. It is where they become self-aware to self-correct. It is where they learn to spot and turn. To leap. To partner. To move small and briskly. To move fluidly and slowly. To story tell. To recognize the difference between a correct position and an incorrect position. To train their bodies to be as equally strong as they are flexible.

What we must understand is that while many young dancers may not enjoy ballet, we must remember anything worth having takes time, perseverance and patience to progress. Ballet is challenging and in a world now where everything is about instant gratification, helping your dancers understand that ballet is a journey, not a destination will take some excellent teaching skills. Other genres may be seen as more, “fun,” but ballet is an art form which can be just as fun and rewarding. The bottom line- dancers need it. Any free pass given to dancers to avoid ballet is doing them a huge disservice. We, as teachers need to be the ones to harp on how important ballet is for their growing bodies, minds and artistry. Not everyone is lucky enough to be offered the gift of ballet. While it may be the class, they are wishing to get over with so they can get to jazz or contemporary, they will not realize the subconscious benefit they are taking with them from class to class. But, we know and that’s what important for now. Like any good parent who knows what is good for their kids, ballet will take them places physically the never dreamed of; whether they become a professional ballet dancer, hip hop dancer, nurse or accountant.

Choreographers today are looking for versatility. Sure it’s great to be super flexible and whack a side tilt, but do they have the strength to stand in a la seconde en l’air with their leg in correct hip alignment? Sure it’s amazing to see them do a million turns into an aerial but can they give you four clean pirouettes and finish on a dime in plie? This is where ballet training will come in handy. So, if you are doubting yourself and how important ballet is to be part of your required curriculum- stop. Ballet should be non-negotiable. End of story. It may or may not be a student’s favorite class but the residuals they will take with them throughout their life are priceless; whether it be as a professional dancer or that of just an aficionado.

Author

Jessica Rizzo Stafford

Jessica Rizzo Stafford

Jessica Rizzo Stafford is a native New Yorker and graduate of NYU Steinhardt's Dance Education Master’s Program; with a PK-12 New York State Teaching Certification. Her double-concentration Master’s Degree includes PK-12 pedagogy and dance education within the higher-education discipline. She also holds a BFA in dance performance from the UMASS Amherst 5 College Dance Program where she was a Chancellor's Talent Award recipient. Jess now works extensively with children, adolescents and professionals as choreographer and teacher and conducts national and international master-classes specializing in the genres of modern, contemporary, musical theatre and choreography-composition. Jess’ national and international performance career includes works such as: The National Tour of Guys & Dolls, The European Tour of Grease, West Side Story, Cabaret, Sweet Charity, Salute to Dudley Moore at Carnegie Hall, guest-dancer with the World Famous Pontani Sisters and IMPULSE Modern Dance Company. Jess has been a faculty member for the Perichild Program & Peridance Youth Ensemble & taught contemporary and jazz at the historic New Dance Group and 92nd Street Y in NYC. She was Company Director at the historic Steffi Nossen School of Dance/Dance in Education Fund and in 2008 traveled to Uganda where she taught creative-movement to misplaced children. The experience culminated with Jess being selected as a featured instructor at the Queen's Kampala Ballet & Modern Dance School. She has conducted workshops for the cast of LA REVE at the Wynn, Las Vegas and recently taught at the 2011 IDS International Dance Teacher Conference at The Royal Ballet in London, UK. She is also on faculty for the annual Dance Teacher Web Conferences in Las Vegas, NV. Currently, Jess is a faculty member at the D'Valda & Sirico Dance & Music Centre and master teacher & adjudicator for various national and international dance competitions. Recently, she has finished her NYU Master’s thesis research on the choreographic process of technically advanced adolescent dancers and is the creator of “PROJECT C;” a choreography-composition curriculum for the private studio sector. Jess is also faculty member, contributing writer and presenter in the choreography and “how to” teaching segments on the celebrated danceteacherweb.com. For more info, visit her website at www.jrizzo.net.

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