I feel my life is complete–almost–after seeing yesterday’s YAGP gala in celebration of Julio Bocca’s life and career. Here is my review–a return of my long-lost blog. Enjoy! Continue reading
This year, the Hong Kong Arts Festival presented “The Sleeping Beauty” by Mikhailovsky Ballet of Russia. Like winning the lottery, I happened to have bought the tickets for the show with Polina Semionova and Leonid Sarafanov in the leading roles.
Prior to the performance, my biggest expectation was to see Polina and Leonid flaunting their extraordinary technique on stage, but the show turned out to give me so much more. I didn’t realize that the choreography is by Nacho Duato, a Spanish choreographer known for his European contemporary style. The changes from the “traditional version” with Petipa’s choreography and staged by the Mariinsky Theater, along with the brilliant costumes and sets designed by Agnelina Atlagic, kept me wide awake the whole evening.
One refreshing change in Duato’s choreography is the absence of mimes. “I try to show the characters and their replationships through dance,” he said in an interview published in the playbill, adding that the mime scenes were a device in the old days for the principal dancers to take some time to rest in between, but due to the improved techniques and stronger dancers today, such a device is unnecessary.
With this change, the music becomes more alive with continuous dance movements without much slowing down of the momentum. Even the King and the Queen were seen dancing (the Queen visibly more), making them characters that are more vibrant.
When it comes to the movement style, the non-classical use of the arms and the head and the sometimes exaggerated extension of the torso reminds me of William Forsythe–but dressed in Baroque costumes! To the traditionalists, this may look very jarring. But when this style was used by the fairies, it exudes a kind of oddity that is quite acceptable and amusing to me. After all, these are fairies with non-human qualities, and such movements add humor to the piece.
While many of Petipa’s classical steps have been altered, the overall feeling I got while watching the show was that the emphasis on the inner emotions of the characters trumps the flaunting of bravura techniques and high extensions. Many a high arabesque has given way to a more subdued line such as a lot of moderate back attitudes and low arabesques. There seems to be a more natural progression of the story line, with more subtle emotions conveyed as the number of exciting “tricks” was reduced.
Speaking of inner emotions, I really enjoyed the brilliant interpretations of Polina and Leonid in their respective roles. Polina was the perfectly convincing 16-year-old when she first appeared, innocent, wide-eyed, coquettish. When she was pricked by the huge needle given to her by Carabosse, you can literally see her energy diminish, as if her soul actually left her body on stage. I especially like the scene where she woke up after being kissed by the Prince and stumbled in a frail body before being able to walk again. The transition between a 100-year-old sleep wasn’t so abrupt as some of the other versions I have seen, where Aurora just perked up in a split of a second, ready to stand upright en pointe! (I later heard from my teacher, who was sitting very close to the stage, that Polina actually stumbled by mistake and made a thump, but it was a detail that I missed, being seated in the top circle).
Leonid also played his role as Prince Désiré extremely well, expressing a big contrast between how disinterested he felt about the women in the hunting scene and how he was enchanted by the Lilac Fairy and was later completely love-struck by the appearance of Aurora in a vision.
Without the miming, there was enough time for the characters to express their emotions more fully, and this was the biggest satisfaction that I got from Duato’s version.
Ekaterina Borchenko danced the Lilac Fairy and put up a strong performance. Her character played a heavier role than Petipa’s version, tying the various pieces of the plot with a red thread (or purple thread for that matter!). Some remarked though that the role should’ve been danced by a more experienced dancer who can hold down the ford.
The portraits of the fairies were a bit disappointing as the individual differences were not pronounced enough, neither through the choreography nor the music.
The Garland Waltz at the beginning of the ballet were danced by young adults instead of the usual children dancers in the original version, and the peach-green costumes really made the dancers look as if they were flowers swaying in the breeze.
I love the sets and the costumes. The contrasting lighting and colors of the sets between the scenes was a clever device to contrast the good with the evil, with black being the predominant color with every appearance of Carabosse, the evil fairy, whose costume and character play was outstanding.
As for the costumes, the ornamental Baroque style done in a restrained, minimalist way was a feast for the eyes. The colors were luxurious and harmonious. No wonder these costumes were worthy of a catwalk (see video below):
Now, let’s talk about the Rose Adagio, the highlight of every “Sleeping Beauty” production. I don’t recall seeing any actual roses received by Aurora during the scene. The four princes were given more frequent rounds to approach the Princess and so it appeared that each of them was given relatively less importance than in the traditional version. While Polina’s technique was impeccable, the focus of the dance, so tightly arranged, seemed to steer the audience in the direction of feeling the frustration of the Princess in having to choose among the four uninteresting princes rather than gasping at her technique alone. This subtle difference gives this adagio a refreshing feel.
The final wedding scene was wonderful and not too drawn out. I love the pussy cat scene a lot more than the Blue Bird, which did not show enough exuberance in my view. The solos and pas de deux by Polina and Leonid were the true highlights of the evening. Polina’s beauty and talent shined as brightly as her glittery tutu, while Leonid’s superior ballon and jumps were a show-stopper. There was a very sweet chemistry between the two.
All in all it was a very enjoyable performance, and it was a dream come true to see the two superstars of today’s ballet world up close!
Browsing the social media for dance pictures can become a mind-numbing habit, so much as that certain traits start to become a main theme that they are being taken for granted as the “must-have’s” if one is to become a great dancer. One of such traits is flexibility.
Have a look at this Instagram account Godatu Dance (https://www.instagram.com/godatu.dance). While many of the photos show beautiful poses, the majority of the dancers featured are flauting how flexible they are. I can’t help but lament the overemphasis of this quality. True, flexibility does give dance a certain “wow” factor. It is a show stopper. But it is not the only thing that counts when it comes to dance quality. I’m afraid so much of today’s training focus has been put on flexibility, such as the ability to do the oversplit, that the element of grace is being compromised, not to mention that many young dancers have actually sustained severe injuries to their hips or back that would have a detrimental effect on their future career.
Have a look at dance physiotherapist Lisa Howell’s article on this subject:
Here is another very good article about oversplits. Are they necessary? Are they desirable? Have a look.
Because of the overemphasis on flexibility, an occasional sighting of a ballet pose with a low extension done with grace has become extra refreshing. Have a look at this one:
Fredrik Ashton’s choreography is a great example of how ballet can be extraordinarily beautiful and entertaining without the high extensions. Enjoy this delightful Rhapsody pas de deux.
Actually, ballets like Ashton’s are inspiring for us adult ballet students as not all of us can achieve the kind of flexibility and high extensions that are considered ideal. But what we can do is to try and achieve a beautiful line by extending our body to cover as much space as possible. Working with the upperbody using épaulement is a good way to achieve a beautiful line.
It’s been a long time since I wrote my last post. I was planning to do another review on Hong Kong Ballet’s other performances, after having been motivated by the high quality of the last performance, Pinocchio. But alas! A series of events have let me down, so much so that I have now put a sanction on the company’s shows “until further notice.”
“Why so drastic?” you may ask. Well, first of all, I have made an agreement with the marketing manager of the company to give me a complimentary ticket for each of their shows so that I can write reviews without having to dip into my shallow pockets. So for their Young Choreographer’s Showcase, I requested a ticket. No reply. I followed up. No reply. I started to feel that they didn’t really care about reviews by this blogger, who happens to have quite a following among balletomanes, and in particular, ballet students and dancers in Hong Kong and even Taiwan.
But I stopped fussing about my own feeling of being offended when I got to know what the company had done later on, just prior to their Romeo and Juliet show. One day, I was alerted of the fact that the company’s newest soloists, hired with expensive sums of money from Italy and Cuba, Vittorio Galloro and Arianne Lafita Gonzalvez, had left Hong Kong after their short stint with the company. There was a great deal of disappointment that fueled their decision to leave. Despite the warm welcome by the Hong Kong public, these two accomplished artists found themselves in a strange situation in which they were not appreciated for the talents and rank that they deserved. Apparently, they were left on the sideline to idle through the rest of the season, getting corps roles at best. I couldn’t help but scratch my head: What kind of treatment is this? This beautiful dancer couple was smart enough to pull the plug as quickly as they landed, while the iron is hot—they still have an enthusiastic following in Europe and beyond.
What puzzled them is also what has infuriated many of the Hong Kong Ballet dancers who have left the company en masse during the reign of Artistic Director Madeleine Onne. I have heard, first hand, from dancers who have left the company, that the artistic director has a terrible taste in the choice of what goes into the repertoire, boring capable dancers who could have benefited from more challenging roles and more interesting ballets. Many of them felt that their talents were wasted. In addition, resources—which include the taxpayers’ money—are constantly being wasted as stand-by dancers and extras are hired to do nothing.
The main problem with the company is how it is being managed. While most other major ballet companies in the world are run mainly by their artistic directors, decision-making at Hong Kong Ballet goes to the board of governors, which consists mainly of people who have nothing to do with art—the majority are socialites that grace the glossy pages of Hong Kong Tatler. Worse still, as in the case of the Dreams of the Red Chamber incident a few years ago, political concerns had led to self-censorship in artistic expression, causing a scandal that the board tried to cover up.
And the latest marketing efforts to sell The Nutcracker tickets? Read this headline: “China Everbright Ltd. Proudly Presents: The Nutcracker.” It makes me puke to hear the association between the ballet company and the scandal-stricken trading company (formerly run by the brother of the corrupt Chinese Community Party provincial chief Bo Xilai). Also, using “hooks” like complimentary champagne and Repetto discounts just seem like a cheap marketing trick to me.
I have stayed away from grinding the axe so far but I can’t keep quiet anymore. In Chinese society one often thinks about how to “save face” for oneself and others, especially if the latter are considered hot shots. But I have absolutely no personal interest in this company—not the least those complimentary tickets. In fact, I wouldn’t miss anything if I don’t go and watch their shows or do reviews. Honestly, I am fed up with this homegrown ballet company, whose quality and management keep on going downhill. Too bad for Hong Kong, but what do you expect from a place where real art is not appreciated by the majority of the citizens?
Feel free to share your comments. We do have freedom of expression here.
Last Saturday I had a most enjoyable afternoon watching “Pinocchio,” a brand new production by the Hong Kong Ballet that marked both the start of the company’s 2015 fall season and the world première of the ballet itself. I almost didn’t go, as the previous couple of programs by the company made me close to lose faith in its future productions. Luckily, a review by art critique Carla Escoda in Backtrack and her personal recommendation with a simple urge, “Go!” made me change my mind. I am so glad I did purchase the tickets after all, as the production was anything but a disappointment. In fact, the highly creative elements—the engaging acting, the beautiful dancing, the fitting and grand musical score, the wonderful orchestral performance and the sophisticated and expensive costumes, lighting and set design—combined to give me an impression that this production was top-notch and meticulously put together, resulting in a strong emotional impact disguised in a child’s play. Instead of finding myself noticing flaws and yawning from time to time, my senses were delighted and I found myself pleasantly surprised again and again during the entire performance.
The ballet started with a good pace, with a quick introduction by the Cricket (danced by Dong Ruixue) to the opening scene. The lack of a prelude as in other classical story ballets is a plus for today’s impatient audience, especially since an important target audience of this ballet are children. The lighthearted score by Italian composer Ottorino Respighi blends extremely well with the storytelling, putting the audience right into the mood for a series of intriguing adventures to unfold.
I laughed when a three-year-old seated next to me screamed to her mother, “I’m scared, let’s go home!” when the piece of pine wood from which Pinocchio would emerge arrived at the home of Geppetto (danced by Li Lin). Isn’t this ballet supposed to be made for children? Oh wait! Very soon, the kid calmed down and was engaged by the storytelling. The entrance of Pinocchio, danced by Hong Kong Ballet’s new soloist from Italy, Vittorio Galloro, who made his début with the company in this matinee performance, made a strong impression on me as his clumsy and stiff movements convincingly resembled that of a wooden puppet and the costume was masterfully designed to give the illusion of bulkiness and inflexibility.
Gradually, Pinocchio learned to move in a smoother fashion and then picked up a few dance steps. I don’t know how many others in the audience felt the way I did, but I could actually relate to this as I reminisce on how I initially picked up ballet steps when I started to take lessons as an adult!
Almost too quickly though, Pinocchio was given a book by Geppetto to head to school, and the audience most likely did not catch the transition well enough to make out the emotional development between the boy and his “father.” But given the fact that the complex original story had to be told in two acts with 20 different scenes, some of the nuances in transitions were sacrificed.
The next scene depicts a fantastically executed commedia dell’arte scene as observed by the wide-eyed Pinocchio at a marionette theater. The neo-Baroque music beautifully threads together the movements of the masked marionettes, with a clearly defined plot featuring the classical characters of the Arlecchino (Shen Jie), Arlecchina (Arianne Lafita Gonzalvez, also a new soloist of the company this season), Columbina (Jessica Burrows) and Pietro (Gong Yi Wen). At the end of the theatrical performance, Pinocchio went to join the puppets and released their hands from the ropes that tied them. To me, this act took on a profound philosophical tone. I am not sure if it was intended or not by the Swedish choreographer Pär Isberg. What came to my mind was the liberation of the slaves from their semi-conscious/zombie state, and Pinocchio suddenly became the hero as the puppets became aware of their freedom and independence! According to the story line, he took part in the performance, which earned him some gold coins from the theater director. Here I find a lapse in logic as Pinocchio is supposed to have done something naughty (selling his book to buy the theater ticket and forgetting the purpose of going to school). But I find him all the more likable for his heroic deed!
The next scene, featuring the Blind Cat (Vanessa Lai) and the Fox (Xia Jun), contains my favorite solo numbers. I was particularly impressed with the performance of Hong Kong-born Vanessa Lai, whose talent is obviously appreciated despite having only been in the company for two years (as apprentice and then as corps member). Her nimble movements reflect that of a cat so very well, with a tinge of sensuality and humor. Her pas de deux with Xia Jun was seamless and entertaining. And I really loved the backdrop showing the trees with golden coins! Kudos to the incredibly talented painter Jordi Castells from Spain. The plot of this scene was clearly played out, leaving no doubt in the audience’s mind with regards to what was happening. One can’t help but feel pity for the wooden boy for being duped by these two cunning characters.
Starting from the next scene on, I had difficulty making out what happened that eventually led Pinocchio into such agony that called for the rescue of the kind-hearted Blue Fairy (Liu Maio-miao). In fact, the whole rationale behind the elongation of Pinocchio’s nose was not clearly expressed. It is understandable that certain details of the story do not lend themselves well to expression by dance movements, but even so, here is where I found the weakest part of the ballet. The transition was contrived and confusing, to say the least. The role of the Blue Fairy is not very strong either. Fortunately, the character was saved by the graceful dancing of Dong Ruixue, who exerted a calming energy throughout.
The Land of Candy and Play scene made me laugh so much as the slim and muscular dancers suddenly appeared with gigantic stomachs at the verge of explosion! That was the result of ingesting too many giant-sized candies, another thing that triggered my laughter. How perfectly this Felliniesque scene depicts our time—the mindless addiction to all things sugary, until everybody goes into a trance without realizing the harmful effects on the mind and body. Of course, this is also my own interpretation, a social commentary that wasn’t perhaps intended? Who knows! Something to ponder upon after the giggles.
The underwater scene in the second act was the highlight in terms of the set design. Kudos to Bo-Ruben Hedwall, a set designer with extensive experience working for Swedish Television. It was so sophisticated that at times, it boggled the mind how the scenes were produced. For adults and children alike, the characters of all the sea animals—jelly fish, turtles, starfish, seahorses and little fishes—were all lovable. The costume design by Jérôme Kaplan really excelled in this scene, although it is equally sophisticated and flamboyant in the other characters, especially the Cricket. Later on when Pinocchio found himself in the ocean waves looking for his lost father, the beautiful flowing blue fabrics weaved together a marvelous sight to behold. It gave me yet another Felliniesque flashback—one from the powerful, risqué and odd tale of Casanova.
The final scene with the score from Respighi’s “The Pines of Rome” was nothing short of dramatic, and rightly so as we witnessed Pinocchio’s transformation into a human being after having learned the earthly lessons of what it means to be human—through being “naughty” and experiencing everything from deception, gluttony to betrayal, his triumph in rescuing and reconciling with his father ultimately made the audience’s hearts melt.
What I love about this ballet is that any bravura steps were not executed simply to impress. For example, when Pinocchio made his high jumps, he did them deliberately with a lack of precision sometimes to show that he was still mastering his movements in his adaptation to a human body. In a way, this takes the pressure off the dancer from the stereotypical demand for perfection and puts the focus on the storytelling itself.
Vittorio Galloro was tremendously engaging as a dancer and actor. Congratulations to him for a brilliant début! I certainly look forward to more of his performance with the company in the future.
I think the captivating power of the Pinocchio ballet lies in the emotional message in it—not so much the moralistic rendition of the Disney version of the tale, that telling lies leads to punishments and regrets, and a good child must be honest; but more about our ability to transcend and grow into our fullest potentials.
Like Pinocchio, every one of us goes through life with all its fascinating, gratifying, ecstatic, fearful, unpleasant and dark moments, yet we are not stuck in one state or another. Life keeps moving, and as long as we keep on exploring for ourselves and learn the lessons along the way, we will grow into who we are truly meant to be. The transformation of Pinocchio into a full-fledged human gives us a glimpse of that non-dying hope for humanity.
Having led the Hong Kong Ballet for six years, Artistic Director Madeleine Onne from Sweden has finally created an original ballet that Hong Kong can be proud of. Sure, one can argue that it is a largely Swedish production with a strong Italian theme. But with the participation of local talents, such as Ava Mok working on props and Billy Chan working on lighting, as well as dancers from Hong Kong, mainland China and around the world, this production represents the international spirit of the city in its best light. I hope Pinocchio is not a one-time affair but have a chance to tour overseas and surprise the world what a high-calibre ballet company Hong Kong possesses. Rather than keep on producing the same-old, same-old classical ballets, why not devote more time to creating something original like this? Of course, a production like Pinocchio probably costs millions of dollars to create. But this is certainly a step in the right direction if the company is to do something worthwhile—something that will make a strong artistic imprint in the world.
Media articles on Pinocchio:
Photo credits: Except for the top and bottom photos, all are by Hong Kong Ballet’s commissioned photographers, Tony Luk, Conrad Dy-Liacco and Kitmin Lee.
Male ballet dancers in Asia are a rare species. Not that they don’t exist. But generally speaking, parents do not encourage their sons to pursue the path of becoming a professional dancer because dancing is still very much considered a feminine activity and thus a dancing boy would be seen as a “sissy.” In addition, in Chinese societies, especially in places like Hong Kong and Taiwan, where there is scanty government funding for the arts, dance is not regarded as a prestigious profession, as being a dancer does not equate a big salary and a “stable” future.
Against these odds, there are a few young male dancers who have followed a non-traditional path and carved a niche for themselves. By defying the skepticism around them, these young men have become a source of inspiration for many aspiring dancers.
Mickael Jou (周楷), an American-born Taiwanese dancer and self-taught photographer, has wowed the world with a series of selfies showing himself dancing and jumping around the world. His photos have recently been published in the Huffington Post (http://huff.to/1GEPiAZ) and the Daily Mail (http://dailym.ai/1IlaDER), in which he is described as “the man who defies gravity.” The Chinese-language Apple Daily newspaper has even met up with him in Berlin and done a video interview after observing the painstaking process of him taking self portraits (http://bit.ly/1LQc27y)
When you look at Jou’s “selfies,” it is hard to tell that he is not a professional dancer. What surprised me the most is that he actually did not start to take ballet lessons until he was 18. He studied business in university and started working in sales. His adventurous spirit brought him from the United States to Paris, France and later to Berlin, Germany, where he is now working with photography. His passion of dance+photography has taken him around the world doing crazy jumps amid wide-eyed and head-scratching crowds. He is a perfect example of someone who lives outside the traditional box—a box that is perpetuated among Chinese families. He is a true inspiration of creativity for us Chinese people!
Another young Taiwanese man, Meng Ting (孟霆）, grew up in his mother’s ballet studio and eventually pursued ballet studies at Taipei National University of the Arts. But after graduation, he has chosen to join the army’s Honor Guard. The Taiwanese media published a report on this (http://bit.ly/1eCjDJG). Why has he chosen this career path? “The main consideration was the practical side,” he answered, hinting at the uncertainties of pursuing the ballet profession in Taiwan. He said he did not audition for a ballet company after graduation. But he still practices and performs in his mother’s studio’s yearly school performance, and finds tremendous satisfaction in that.
In the video posted by Taiwan’s Security Department as a recruitment ad (above), Meng said that he has chosen to work in the Honor Guard as there is a chance for him to perform on stage and he finds a parallel between the work there and ballet dancing. Both have very specific and detailed demands for each movement and require a strict discipline. At the same time, there is a constant need to come up with new choreography for the Honor Guard, so it is just as challenging as dancing ballet. The “selling point” used by the Taiwanese military is that a man who can execute graceful movements can also be suitable for work in the military—a perfect harmony between the soft and the hard sides of masculinity. Meng told me that the job suits him because he can find the perfect balance between financial stability and an outlet to make use of his dancing talents, applying the spirit of ballet in his military work.
Back in Hong Kong, my home turf, we have a “miracle” created by Kelvin Mak (麥卓鴻), who started learning ballet at the age of 16 and has successfully become a professional dancer three years later. The 21-year-old started off learning hip hop and fell in love with performing arts, moving on to ballet and contemporary dance. He graduated from the Hong Kong Academy of Performing Arts, majoring in modern dance, and in 2013, joined the City Contemporary Dance Company (CCDC), the most prominent contemporary dance company in Hong Kong, as a professional dancer. Why did he pursue dance? His answer: “I believe that dance has chosen me.”
Like so many Chinese mothers out there, Kelvin’s moother has never really supported his choice of becoming a dancer. But Kelvin dances on, in the hope that one day he will earn her support through his success. Among his numerous achievements so far is winning the third prize in the Classical Pas de Deux category at The American Dance Competition in 2013. Watch him dance in the YouTube links below.
Besides dancing for CCDC, Mak is also a dancer with the newly established Beyond Dance Theater (舞界限舞蹈團), founded by his ballet teacher Linus Kwok. When asked how dance has inspired his life, he said, “Although ‘impractical,’ dance gives me a strong sense of living in the moment…. The process is not painful at all, but rather, very joyful. Dance definitely brings me a kind of spiritual enjoyment. It gives me a channel to express my emotions.” When asked about his advice for students who are looking to develop a dance career, he said, “Be truthful to who you are at any given moment. Although you may be ‘imperfect,” you need to enjoy the imperfection, too. As a dancer, there is a bright spot in every step. Take in every moment carefully, and you will never regret the rest of your life!”
Recently I was invited to a press conference of a new ballet studio in town. Unlike most studios in Hong Kong, this one, SJ Ballet Des Arts, is relatively large in size (two 600+ sq. ft. studios), with an exceptional sea view to boot, and located in a porsche tourist district where the rent is predictably high.
I had the chance to sit down with the founder of the studio, Song Hai Feng, who has just retired as a coryphée of The Hong Kong Ballet. Song emphasized that his school will focus on nurturing students’ artistry and spiritual fulfilment through a holistic approach—ballet books and music will be available in the library corner, and lectures will be provided to parents in the art of ballet, nutrition and safety, so that they can become a source of support for their children’s artistic development. Song’s wife, Jin Yao, currently a principal dancer of The Hong Kong Ballet, explained the goal of the school is to build a solid foundation for ballet students based on correct methodology from Day One. She said that she has seen innumerable young ballet students who went on auditions for Hong Kong Ballet’s annual Nutcracker, and was surprised to find that most did not exhibit the basic techniques correctly.
It all sounds wonderful—not many ballet studios in this over-commercialized city would have this kind of lofty approach. It remains to be seen how these goals will be accomplished.
SJ Ballet Des Arts is going to offer two types of adult ballet classes on top of its elite pre-professional track, one-on-one coaching, toddler classes with parents and Royal Academy of Dance (RAD) track for young hobbyists. One type of adult class is for beginners who have zero experience in ballet. The marketing angle is “Beauty and Slimming,” and the content of the course is a combination of Pilates mat exercises, stretching and some basic ballet movements. The other type is for those who have some experience of ballet. While I think that it is a great idea to require absolute beginners to do stretching and floorwork—which are usually omitted in Hong Kong’s adult ballet courses, the marketing concept of “Beauty and Slimming” is geared toward a clientele who may not be seriously interested in ballet as an art form. And the fee of HK$350 per lesson (students must pay three months’ fee in advance) is really prohibitive for many. Perhaps I’m wrong about it and perhaps there are plenty of wealthy ladies out there who don’t mind parting with what is equivalent to about US$45 for each session. But I definitely cannot afford to do this. In terms of class structure, I would rather that the school offers adult classes divided into different levels, with Level 1 consisting of floor barre and stretching on top of the basic movements, and then progressing to higher levels thereafter.
According to the studio founder Song, the plan is to introduce ballet basics through this class, and those interested in taking serious ballet lessons can move on to the regular adult class. Well, over the past few years, we have seen the growth of interest in adult ballet around the world as a result of non-traditional classes geared toward those who want to keep fit and achieve a beautiful body shape (such as Ballet Beautiful, Xtend Barre and Sleek Technique). So maybe this will create a similar effect. We’ll see!
When I introduced myself to Song, he asked me what the challenges for adult students are. One of the things I told him about was that adult students often get injured as most of us do not receive core strength training in class, and some of us are not taught the right placement and technique from the start. Instead, we are often just asked to copy the teacher’s or other students’ movements, without understanding how to use the muscles in a correct manner. He was very surprised to hear that adults could get injured in ballet class! He told me that children in China who receive professional training almost never experience injury until quite late in their training or during their career, when they over-exert themselves.
I realized that for experienced ballet dancers and new studio owners, there may be specific aspects of adult ballet training that they may not be aware of, given their professional background and their relatively young age. So I decided to jot down a list of things for them to take into consideration when designing course content for the mature group:
1) Adult students come in vastly different body types and physical conditions that may include serious muscle imbalances, inflexibility and even deformity or diseases that affect the body’s alignment or stamina. It would be helpful to observe and check our body conditions, talk individually about our needs and make some effort to give us exercises that cater to our specific conditions. Treating everyone equally—or worse, treating us as if we were kids or teenagers—would not necessarily yield the best result.
2) Adult students come with baggages in life. We may be parents with tons of obligations. Or office workers who have to put in long hours or overtime regularly. We may have to go on business trips from time to time. Or we may have illnesses or diseases that prevent us from attending class regularly. Heck, some of us may even have dramatic family or life situations that cast a shadow in our minds, making us a little less capable of focusing and fulfilling the demands in class. These are some of the things that a young ballet student would not normally have to contend with. So beware of adult students’ erratic schedules and the impossibility to attend classes regularly. Try to pace the classes in a way that allows for us to make up for our lost progress. Many of us adult students wish to do well in class so badly, that missing a class itself is a source of stress. And the more stressed up we are, the more easily we get injured. So putting adult students’ mind at ease by offering some make-up classes or words of encouragement would be highly beneficial.
3) As I mentioned above, most ballet studios in Hong Kong do not offer core and flexibility training as a preparation for ballet training. At the same time, most adult students in Hong Kong are impatient and want to learn those “stylish” and “tricky” movements right away—and ballet teachers would give it to their “customers” without hesitation. Unfortunately, skipping this crucial preparatory stage could lead to bad habits/wrong muscle usage down the road, setting the body up for injuries or even repeated injuries. A serious studio would insist on this kind of foundation training for beginners before they are allowed to proceed to the next level. In addition, even though we all know that warm-ups and cool downs are necessary routines before and after a class, how many of us really know which movements are safe and helpful to do? (Read this article about warm-up frustrations.) We need explicit guidance, so it would be a good idea to build those into the class time—and that may mean lengthening the class by another 20-30 minutes. Some teachers or adult students may appall at the extra time they have to put into class time (there are those who habitually show up in class after the plié and leave the classroom as quickly as the reverence was finished), but this is about changing the mindset and creating the right routine for serious and safe training.
4) Adult students can be serious about technique and artistry too! So don’t assume that we are in the studio just to pass some time, have some some fun or get some exercise done to lose weight. Yes, those are some of the common motives. But many of us really want to learn to do ballet properly, seriously and beautifully. So correct us properly and don’t be stingy about it. Yes, some of us may be a bit sensitive about criticism. But only giving compliments would not help us improve. Instead, make it part of the education process to let adults know that constructive criticism is part of ballet training and necessary for progress. On the other hand, do give confirmations or compliments whenever they are due. I know some teachers who never openly give praises for fear that certain students may get jealous. Well, if you give compliments to individual students for the improvements they have made over time—whether obvious or small, and take turn in giving each student some attention and correction from time to time, I don’t see why there would be an issue.
5) This last point is as much for the studio owner/teachers as for adult ballet students. Interesting enough, many adult students in Hong Kong wish to take RAD class. Their goal is to obtain certificates to prove that they have achieved a certain level of technical ability and artistry. Based on my observation over the years, I have come to understand that some adult students take the exams so seriously that they would risk all kind of injuries to get enough preparatory training for the exams. And in some rare cases, angry birds might surface when their scores come out and they don’t get what they expected or if they get lower scores than their classmates! Perhaps due to the fact that Hong Kong is a former British colony, most ballet schools’ syllabi is based on the RAD system and would enroll their students—even adults—in exams. The system is also an easy way for studios to maintain profitability because students enrolled in the exams are told they would be required to take X number of classes per week to achieve the right amount of training for their respective levels. Of course adult students are easy targets because many of them are willing to splurge on a hobby that they were often denied of in childhood, now that they are earning money as adults. So, enrolling adult students in exam classes is a sure-fire way to maintain a steady stream of income. And many new adult students are so impressionable, that RAD exam classes are the only way of taking class that they know of. The truth is, not every adult does well in an exam-oriented environment. While some claim that they won’t be motivated to take class if it wasn’t for the exams, some thrive without the constant pressure in the back of their minds. Others really just want to take class and do well. Still some others want to have an opportunity to eventually dance en pointe or/and perform on stage. Regardless, it is important to provide a friendly environment to adult students in which they would not feel pressured to follow the exam track.
Oh, one more thing: As women age and go into the peri-menopausal, pre-menopausal or menopausal stage, some of us have to deal with hormonal changes, which affect us both emotionally (e.g. mood swings, depression, etc.) and physically (weight gain, loss of bone density, hot flashes, etc.). These are things that most young teachers would have not experienced themselves. As more and more adults start to take ballet classes, and some of them do fall into the age groups that experience these symptoms (the onset of peri-menopause could be as early as in the late 20s but is most common after the mid-30s), there is a whole new area of knowledge that ballet teachers need to equip themselves with. When teaching those of us who are going through these stages of our lives, please try to add a little extra sensitivity and gentleness.