Ballet Training for a Proffesional Dancer
By: Liz Maxwell
Weight lifting, muscle toning, dedicated practices, balance, stretching, and repetition: athletes find a thrill in these activities but professional ballet dancers live for them. The dream of becoming a ballet dancer requires vigorous body training, demanding practice times inside and outside of class, and a determined attitude that can be further developed throughout a dancer’s career.
For dancers looking for a career in ballet, serious training is recommended to start between the ages of eight and ten for girls. Boys can start a little later, but starting training much after that and especially once teenage years have been reached, means there is little to no chance of becoming a professional dancer (Ballet). The reason for this is simple; ballet contains a series of basic steps that must be mastered to develop more difficult skills, and this process takes time and developed muscle training. Most ballet classes are between an hour to an hour and thirty minutes long and cover warm-ups, stretching, basics, center practice, and stage presentation. The first fifteen to thirty minutes of class is used for stretching out the body which not only increases flexibility but, also, decreases the chance for injury. Continued stretching occurs at the barre to limber up tendons and loosen joints. This also offers an area to work on simple basics such as correct foot position. Next, center practice includes slow sustained exercises that work on balance and increased fluidity in movement. The last half of class includes quicker movements starting with small jumps developing into larger travelling turns, steps, and leaps. As dancer’s progress, the movements become more challenging but no matter how complex, each skill is based on the same basics taught to eight year olds. For this reason, it is important to always maintain the basics. Eventually dancers attend class to uphold performing standards more so, than to learn new tricks (Training for Ballet, 1). Impressive skills are not the only criteria necessary to be a professional dancer; many requirements are needed to earn a dancing certificate which signifies a professional career. A dancer attending Joffery Ballet School in New York must complete three thousand, four hundred and fifty hours of training with a minimum of fourteen classes per week over a minimum of four years and a maximum of six years. This means a minimum of nine hundred hours of supervised study is required each academic year (Joffery, 1). With such a demanding schedule as this, it is absolutely necessary to correctly strengthen the body.
Although daily classes keep the body strong, the competitive nature of ballet today created a need for dancers to engage in additional strength training (Training for Ballet, 1). Younger dancers may have physical conditioning such as muscle strengthening and abdominal workouts incorporated within class but as dancers’ progress, every minute of instructed practice is needed to work on skills. This is why separate conditioning classes or times are available for advanced students (Berardi, 1). These workouts help to sculpt muscles and can increase the rate at which the body will acquire new skills. Weight training can include the use of actual weights but more so entails lifting and maneuvering the body’s weight in new ways for extended periods of time with multiple repetitions. Strengthening muscles must be done evenly and correctly to avoid disproportional movements or muscles tears. Working out muscles increases strength in the areas that are repeatedly worked which is why using slow, fully extended motions are important for dancers. An incomplete extension when working out will most likely lead to muscles tears because the full extent of the muscle group is not being practiced and will become tight. Therefore, when a dancer performs a skill that requires flexibility, the muscle could become overexerted and will probably tear. Because most dance moves require high amounts of flexibility, a short muscle group could be catastrophic for a dancer. After strength training proper stretching relieves strain on muscles, allows dancers to achieve their best performances, and to extend those performances for years by avoiding consequences of long term muscle strain (Stark, 1). Further conditioning outside of class can be a risk because it adds additional wear to the body but when done correctly, weight training provides a strong foundation for the body. Injuries occur most often in dancers who did not take the time to train smartly (Priebe).
Training for ballet involves many activities that are offered by academies and instructors but an important part of becoming a professional dancer is the way performers deliver their movements. Each dancer has a different standard towards what satisfactory technique means but all dancers can agree that performance ready skills take more work and time than just what dance masters and mistresses can offer (Priebe). Preparing for a role in a performance does not only come from the choreography but is displayed through the delivery of emotions. A dancer’s role in a ballet must be created, not learned, so the performer has to meditate on what he or she wants to do, artistically, to perform the character properly. This requires time alone in a studio, working to become comfortable with the expressions a dancer chooses to use in a role (Priebe). That is essential to making the artistry of the dance unique to each dancer and, because this comes from the natural character of each individual dancer, no instructor can teach the right or wrong way to express a role. Guidance can be provided but the artistry must be established at an individual level. Practicing for a role develops individuality in each dancer and offers a place, in class or in performance, to confidently display these characteristics. If the performance is liked or an instructor praises a dancer for a performance, confidence is boosted and built upon. In turn, if an instructor critiques the style, the criticism offers a chance for a dancer to alter the display, but gives reason for dedication to the role and determination to bettering ability. Dance is one of the few arts that require such a personal level of movement. Unlike a painting where the onlooker can add up hundreds of brush strokes to see a masterpiece, a meaningful dance requires more than tricks, these skills must be displayed with artistry as well.
Ballet dancing is a disciplined and demanding art. Professional ballet takes talent and practiced skills but without decent training in class, in a weight room, and in private rehearsal times no dancer could reach the high standard of professional ballet. Ballet is also the only other physical activity I have found that requires more effort than gymnastics. This is why, although I never was a ballet dancer, I am very interested in this particular form of dance. It is very disciplined and demanding and I can relate to the stressful nature of such an activity. To be a professional dancer, ballet must become the performer’s life. After practicing gymnastics for five years I have found a love for any activity that asks for as much hard work and physical and emotional strength that gymnastics does. Not many sports can even compare with the effort required to be a gymnast but ballet has really caught my attention. When I watch ballet or gymnastics, the movements appear effortless but that is the best part about these activities; it takes a specific skill level to be able to perform such difficult skills without showing exhaustion. Gymnastics has always given me an indescribable satisfaction and although I have never experienced it first hand, I am positive that the feeling obtained after a wonderful ballet performance is exactly the same. Ballet is not a hobby like Friday night football that can be set aside all week and only visited on occasion. This art develops into a necessary piece of life to those who see the true beauty of ballet dancing.
By: Liz Maxwell
Weight lifting, muscle toning, dedicated practices, balance, stretching, and repetition: athletes find a thrill in these activities but professional ballet dancers live for them. The dream of becoming a ballet dancer requires vigorous body training, demanding practice times inside and outside of class, and a determined attitude that can be further developed throughout a dancer’s career.
For dancers looking for a career in ballet, serious training is recommended to start between the ages of eight and ten for girls. Boys can start a little later, but starting training much after that and especially once teenage years have been reached, means there is little to no chance of becoming a professional dancer (Ballet). The reason for this is simple; ballet contains a series of basic steps that must be mastered to develop more difficult skills, and this process takes time and developed muscle training. Most ballet classes are between an hour to an hour and thirty minutes long and cover warm-ups, stretching, basics, center practice, and stage presentation. The first fifteen to thirty minutes of class is used for stretching out the body which not only increases flexibility but, also, decreases the chance for injury. Continued stretching occurs at the barre to limber up tendons and loosen joints. This also offers an area to work on simple basics such as correct foot position. Next, center practice includes slow sustained exercises that work on balance and increased fluidity in movement. The last half of class includes quicker movements starting with small jumps developing into larger travelling turns, steps, and leaps. As dancer’s progress, the movements become more challenging but no matter how complex, each skill is based on the same basics taught to eight year olds. For this reason, it is important to always maintain the basics. Eventually dancers attend class to uphold performing standards more so, than to learn new tricks (Training for Ballet, 1). Impressive skills are not the only criteria necessary to be a professional dancer; many requirements are needed to earn a dancing certificate which signifies a professional career. A dancer attending Joffery Ballet School in New York must complete three thousand, four hundred and fifty hours of training with a minimum of fourteen classes per week over a minimum of four years and a maximum of six years. This means a minimum of nine hundred hours of supervised study is required each academic year (Joffery, 1). With such a demanding schedule as this, it is absolutely necessary to correctly strengthen the body.
Although daily classes keep the body strong, the competitive nature of ballet today created a need for dancers to engage in additional strength training (Training for Ballet, 1). Younger dancers may have physical conditioning such as muscle strengthening and abdominal workouts incorporated within class but as dancers’ progress, every minute of instructed practice is needed to work on skills. This is why separate conditioning classes or times are available for advanced students (Berardi, 1). These workouts help to sculpt muscles and can increase the rate at which the body will acquire new skills. Weight training can include the use of actual weights but more so entails lifting and maneuvering the body’s weight in new ways for extended periods of time with multiple repetitions. Strengthening muscles must be done evenly and correctly to avoid disproportional movements or muscles tears. Working out muscles increases strength in the areas that are repeatedly worked which is why using slow, fully extended motions are important for dancers. An incomplete extension when working out will most likely lead to muscles tears because the full extent of the muscle group is not being practiced and will become tight. Therefore, when a dancer performs a skill that requires flexibility, the muscle could become overexerted and will probably tear. Because most dance moves require high amounts of flexibility, a short muscle group could be catastrophic for a dancer. After strength training proper stretching relieves strain on muscles, allows dancers to achieve their best performances, and to extend those performances for years by avoiding consequences of long term muscle strain (Stark, 1). Further conditioning outside of class can be a risk because it adds additional wear to the body but when done correctly, weight training provides a strong foundation for the body. Injuries occur most often in dancers who did not take the time to train smartly (Priebe).
Training for ballet involves many activities that are offered by academies and instructors but an important part of becoming a professional dancer is the way performers deliver their movements. Each dancer has a different standard towards what satisfactory technique means but all dancers can agree that performance ready skills take more work and time than just what dance masters and mistresses can offer (Priebe). Preparing for a role in a performance does not only come from the choreography but is displayed through the delivery of emotions. A dancer’s role in a ballet must be created, not learned, so the performer has to meditate on what he or she wants to do, artistically, to perform the character properly. This requires time alone in a studio, working to become comfortable with the expressions a dancer chooses to use in a role (Priebe). That is essential to making the artistry of the dance unique to each dancer and, because this comes from the natural character of each individual dancer, no instructor can teach the right or wrong way to express a role. Guidance can be provided but the artistry must be established at an individual level. Practicing for a role develops individuality in each dancer and offers a place, in class or in performance, to confidently display these characteristics. If the performance is liked or an instructor praises a dancer for a performance, confidence is boosted and built upon. In turn, if an instructor critiques the style, the criticism offers a chance for a dancer to alter the display, but gives reason for dedication to the role and determination to bettering ability. Dance is one of the few arts that require such a personal level of movement. Unlike a painting where the onlooker can add up hundreds of brush strokes to see a masterpiece, a meaningful dance requires more than tricks, these skills must be displayed with artistry as well.
Ballet dancing is a disciplined and demanding art. Professional ballet takes talent and practiced skills but without decent training in class, in a weight room, and in private rehearsal times no dancer could reach the high standard of professional ballet. Ballet is also the only other physical activity I have found that requires more effort than gymnastics. This is why, although I never was a ballet dancer, I am very interested in this particular form of dance. It is very disciplined and demanding and I can relate to the stressful nature of such an activity. To be a professional dancer, ballet must become the performer’s life. After practicing gymnastics for five years I have found a love for any activity that asks for as much hard work and physical and emotional strength that gymnastics does. Not many sports can even compare with the effort required to be a gymnast but ballet has really caught my attention. When I watch ballet or gymnastics, the movements appear effortless but that is the best part about these activities; it takes a specific skill level to be able to perform such difficult skills without showing exhaustion. Gymnastics has always given me an indescribable satisfaction and although I have never experienced it first hand, I am positive that the feeling obtained after a wonderful ballet performance is exactly the same. Ballet is not a hobby like Friday night football that can be set aside all week and only visited on occasion. This art develops into a necessary piece of life to those who see the true beauty of ballet dancing.
