by Kimberly Peterson
In the new series “Breaking Pointe”, a documentary style show highlighting the world of professional ballet inside Ballet West from the CW network, there are several brilliant things which happen here: 1) – a no holds barred look at life as a professional dancer, the ups and downs of this on their professional and personal lives, their own development as artists and people; 2) – it brings into sharp relief the nature of the competitive atmosphere of professional ballet and the ramifications of this atmosphere on the work ballet produces.
In the first episode, we are introduced to several of the dancers in differing points in their careers, who are getting ready for their annual contract renewals, or conversely, their pink slips. The Artistic Director, Adam Sklute, in speaking about how he must make difficult decisions for the good of the company, states: “The best recipe for creating a hardworking and well-functioning dancer and artist is if all the dancers know that they are special, but also that they are expendable.” This statement resonated with me and instinctually. I found myself bumping up against it as I watch these people struggle for an unattainable perfection, while knowing and accepting that they will never truly find it, never really have security or rest. There is only the constant pursuit of perfection.
While this may be the way in which ballet chooses to conduct itself, the manner in which they operate their business, I seriously doubt the efficacy of this kind of an environment not only on the people who work there, but also the work that is eventually produced.
These dancers, who are up for renewal every year, are constantly in a state of fear, constantly worried about who may upstage them, who may take their role, who may be better than them and how they can improve to fight to dance another year. Despite their artistic director’s insistence that after he hands out contracts the dancers are able to focus only on dancing, there is absolutely no way in which that can happen when you are consistently having to measure major life changes against their profession, their jobs, indeed their entire careers.
In such a system, there is no room for collaboration, no room for accepting difference and therefore diversity suffers, no room for different bodies or times of life. They dance on borrowed time, knowing full well that in their world, you have until about the age of 30-35 before you are done. Not because of any outright ageism, but because the body changes and ballet does not. The roles you play are fixed, not open to interpretation, because time may change but ballet does not. Execution of the form is rigid and often painful, the virtuosity of these dancers coming from a training regimen which outpaces many Olympic athletes – but while dance may change, ballet does not.
From the outside, this world of ballet functions largely as a business, and for this reason, you can see how it may make some sense to keep everyone constantly in competition with their fellow dancers – competition could bring about better performances, more willing and pliable dancers, decreasing tempers and egos and preserving the hierarchy. However, this constant competition also completely destroys the idea of mentorship, of collaborative learning, of positivity. In fact, in business, successful businesses that invest in the people they hire long term are often among the most innovative and cutting edge leaders in their industries. It is surprising that an art form so reliant on the contributions of their employees, would fail to recognize the investment they could be making into their dancers in favor of a competitive atmosphere which erodes the ability for innovation and development.
Perhaps this attitude explains why ballet has had such a difficult time remaining relevant as a field, while dance as a whole has progressed and developed towards movement innovation, personal interpretation and connecting with the audience.
Lack of positivity too plays a role in the workplace and the work produced. Happy employees make better work, do better work and are far more likely to reinvest in their jobs through innovation and development. The inability of the ballet dancers to be positive, to engage in their work in a positive and encouraging environment is part of the notion that accomplishments are individual, and that no one’s individual accomplishments are good for anyone else. Beckanne receives a write up in a dance magazine as a young dancer to watch, an up and coming dancer article. However, despite this major accomplishment, Beckanne keeps it to herself, not wanting to share this accomplishment knowing that it will set her against more senior dancers who will feel jealous and create tension at work. It is only at the insistence of another dancer making a public remark alluding to her upcoming article that she says anything about it at all!
Personal accomplishments are everyone’s accomplishments to a certain extent. Celebrating them marks excellence and achievement, pushes others to work harder for recognition and rewards the members of the group with a boost to morale. Hiding your excitement over roles or over magazine write-ups is due to the competitive nature of the business, but is also encouraged by statements such as “special, but also expendable”.
What might happen if people were encouraged to congratulate others rather than to simply show no emotion over something all the dancers value? Might there be some hurt feelings, perhaps, but professionals should know that such disappointments are not to be dwelled on, but used as a catalyst for bettering themselves. It opens doors for mentorships, creates dialogue for hope and encouragement. But to not acknowledge them at all feeds the destructive loop of perfection that eats away at confidence and can destroy working relationships and environments. In the field of dance, this can destroy the artistry of the work produced.
Many a dancer struggles with perfectionism. It’s somewhat of an epidemic, and no discipline that I have found has avoided it. The artistry that weighs on dancers is a burden that we strive to deliver with grace and elegance, honesty and sincerity. But to see so many gifted people in one place, all struggling to feel that they have accomplished something great, is truly disheartening.
Rex, who is a gifted dancer and a beautiful mover, struggles to accept that he has the talent to really grab a hold of a principal role. The first cast for this role goes to another dancer, more confident, but less consistent. Women placed under such pressure to conform to the minutia of roles made for women several centuries ago, lack the ability to take any joy in the roles they are playing – dropping their facade of happiness the minute the music ends. How can it be that such a lack of confidence can exist when the dancers here are among the best in our nation? Why no sense of belonging, no sense of worth as a contributor in the field, or to the dance itself – outside of what the director or the other dancers see in them? It is a curious predicament that would seem to be the natural result of such an atmosphere where “special but expendable” is the motto.
These dancers are certainly not prisoners, they are there of their own accord and continue to fight for their places. There can be no blame laid on the institution because it exists as such, when people continue to embrace it that way. However, it does make one pause to consider – if the dancers truly knew they were special in a way that was not contingent on others, what would be the visible results? If the dancers were able to focus on their interpretation of the stories they told, rather than the execution of the minutia of movements, what would unfold? If the dancers encouraged one another, embraced their own physical changes due to injury or age, and sought to be the best they could be despite not having constant competition between themselves; what would happen to ballet?
That is a question, which I think is worth answering.
What do you think?
Contributor Kimberly Peterson received her Bachelors and Masters of Arts degrees from Texas Woman’s University’s prestigious dance program.
Her 4dancers.org columns, Musings and SYTYCD, focus on on relevant issues in the field of dance including aesthetic education, choreographic process, performance, critique and the role of dance in our culture.
She serves on the Volunteer Advisory Committee with The Soap Factory in Minneapolis; specifically working with developing the Haunted Basement, implementing studio artist workshops/lectures and connecting performance artists/dancers to the gallery through integrated performances.
Drawing on her experience with creating and producing dance works, Kimberly has served technical theater roles, event coordinator, volunteer and as an advisor in various roles at several organizations. Most recently these include: RedEye Theatre, The Soap Factory, Minnesota Fringe Festival and MNPR’s Rock the Garden in collaboration with the Walker Arts Center.
Kimberly, I agree with this whole heartedly! You have summed up what I feel about the potential work environment of a ballet company- but have said it so much better than I could have! I wanted so badly to be part if the ballet world as a student who was looking at a professional career but wanted nothing to do with the work atmosphere that keeps one on edge, and produces jealousy, mistrust and immature egos. I really believe that to be whole people, honest artists, and thinking dancers you have to be in a place that is safe for ideas and artistry to be cultivated and encouraged. I have been devouring the Breaking Pointe episodes, and what really gets to me is the idea of being perfect. It’s repeated over and over in the episodes. Being perfect is not possible, interesting or relatable. I want an artist who is honest, so engulfed in the moment that they cease to exist as a person. I also want to wake up every day excited to go to worked, believing in my job and field. (this can happen…I do!) Turnover in any work place is inevitable, for a variety of reasons. But a unified group on stage, a group of trusting, open, artistically honest people, generous to the audience and upholding the integrity of ballet and the choreographer’s vision, is powerful. Not perfection.
Courtney I think your statement says it all: “Being perfect is not possible, interesting or relatable.”
If the goal of our artform is to communicate by creating experiences we take our audience on with us, then stagnant perfection will not get us there.
I also find that the idea of “honesty artists and thinking dancers” you bring up, is curiously absent from the route and rigor of this discipline. When watching these dancers perform, it’s like thye hover on the edge of believability, almost making you feel, almost making a connection, almost – but not quite there. I haven’t found the avenues, in this company, where dancers in professional ballet have the opportunity or the encouragement to dance with intelligence and honest connection.
The dancers talk about “a moment of perfection that no one can take away from you” – this stagnant description of a one-sided dictation to the audience. As if the dancers are saying, in effect, “this is perfection, it is the highest ideal, and you will respond favoably to it.” It’s a curious juxtaposition to the fliud and relational approach of contemporary dance around the world.
The unfortunate reality is People still pay to see ‘Perfection’. I’ve never watched the show alluded to here but it intrigues me and I may look it up. You have expressed exactly how I have long felt about Ballet. For me the art form as it is usually presented has become boring, because it is the same thing over and over and over again.
Ballet was intriguing to me for many years, but after years of watching I fail to see anything “New”, “Different”, or “Interesting”. I’ve watched other dance forms evolve, but ballet is pretty much like it was when I was a kid. It’s very stagnate. I’ll see steps put together in a different order, but ultimately, I’ve seen it all before… Granted, I’ve seen it done horribly, and excellently, but there is little about Ballet that is “new”.
Having only been a consumer, and not having ever been a member of a ballet company, I now understand why ballet is so stagnant!
Unfortunately, until the consumers of Ballet stop paying to see the same old stuff, nothing will change. Ultimately, it is not the dancers, not the directors or the choreographers who shape the Ballet world, it the consumers. IF consumers stopped attending the shows put on by the “Establishment Companies” and started attending shows put on by “Less Traditional Companies” where the work ethic and the creativity you envision are practiced, Ballet would become interesting once again.
Put another way, Creativity would flourish if the consumers of ballet wanted creativity. But the sad reality is most consumers of ballet shun those who try to do something new with the art form and support the art form as it has been for centuries. “It is Tradition after all… and you don’t mess with tradition!” SO, the ballet companies give their consumers what they want. The same stuff, over and over. Better than last time, to be sure, but not quite perfect… Although I don’t know how much closer to perfection ballet will ever get than it did with Mikhail Baryshnikov.
Great Article…
I think there is room for both tradition and fresh ideas in ballet…but I get your point. I think that consumers of dance can benefit from a wider breadth of exposure, even if it is just to decide that ballet is where they are most comfortable. It is good to know what you like to watch, and nice to have things to compare it to. Ultimately it makes for a more informed audience too. Plus, they may also find they like other types of dance as well…or discover something they like more than ballet…
The high-pressure is indeed a fact of life in ballet, and I’d love to hear from other people in the dance world to see if it is limited to this particular style, or if other dancers feel this way as well…
Thanks all for ringing in on this one–your comments are much appreciated. I love hearing what others think about things like this–it’s always educational for me! 🙂
Kimberly,
How many ballet companies have you worked with? Just because the editors of the TV show make it look like Ballet West is competitive and hostile does not mean it is. And even if it is, that does not mean that all ballet companies have the same environment and working model.
They do not.
Nichole, my articles are never meant to be taken as the only perspective. I write about what I find interesting and intriguing within the representations of dance in popular culture – the same is true of my articles on So You Think You Can Dance. That being said, while the culture of dance has variances, the presentation of that culture to the masses does not have many avenues. It’s that juxtaposition that I feel we need to call attention to.
Ballet West, in conjunction with the CW, are presenting their culture in this format. And while it is certainly possible that this isn’t that way it is done in all ballet companies, I find the way in which this company is represented, raises interesting questions about the structure of the company, the work they produce and whether or not the director’s statement can be viewed as successful in this context.
I like to pose problems and questions, and if this reaches their ears and they are not satisfied with how they are represented, or hadn’t considered how the implications of that, I sincerely hope they would endeavor to change that. But the more interesting thing is engaging dancers and dance lovers in discussing the implications of the way we currently write, think, and experience dance.
To answer your question, I have not worked with a ballet company. However, I have several friends who have, at a professional level, and from our discussions on their experiences in that form – I’m not entirely out of line. I greatly appreciate the comment but hope you realize that I’m not trying to attack the form. I quite like Ballet, it was and still is my first dance love. However, no form is without it’s flaws, and discussing those flaws, or differences of opinions (as the case may be), will hopefully raise awareness of our audiences, and remind us not only of how we present our art form, but also how we relate to it.
Dear Paul,
“Ballet was intriguing to me for many years, but after years of watching I fail to see anything “New”, “Different”, or “Interesting”.” Ballet, like most of the established fine arts, has a definite history, tradition and repertoire. What intrigued you about ballet initially perhaps was the exquisitely trained athletes performing acts of unimaginalble beauty. But it’s worth noting that at some point iin time all those old warhorse ballets that bore you, were brand new (Balanchine continues to shock me even upon repeated viewings with his fresh novelty!).
Fine art deals with recognized master works, the fun being in discovering exciting nuances within the predictable context. No one wants to hear “new” notes in a Beethoven symphony or hear a different aria at the end of Act one La Traviata, or see another face on the Mona Lisa!! We return to these great art works beacause of their timeless, inexplicable allure…we are fascinated by their power over our imaginations. That is precisely why one holds their breath during the death/mad scene at the end of the first act of Giselle, or the Rose Adagio in Act One of The Sleeping Beauty, orthe Waltz of the Snowflakes in Nutcracker…in order to see/experience/live these great moments of ballet art in the present.
Ms. Peterson’s last question about the fate of ballet were it to tear loose of it’s approved origins is evident…it would become something else. (modern, folk, jazz…who knows?)
I work for a professional ballet company (in administration, not as a dancer – my body gave out long ago!) and “Breaking Pointe” amps up all of the bad stereotypes and negative aspects of ballet to make good television, i.e., the higher the drama, the higher the ratings. EVERY industry has its negative aspects, they just aren’t all scrutinized under the microscope of a TV camera for a “reality” show. (And let’s face it – some of Ballet West’s “real” interactions are obviously being staged for the cameras – When those two dancers broke up – sorry I can’t remember their names – the scene was edited from several different camera angles.) I blame it all on the success of “Black Swan.”
Thanks Gary for you comment (and btw, my body gave out long ago too!). “Breaking Pointe” aside, I think that each ballet company has it’s own type of atmosphere–as with any company in just about any industry. I can remember interviewing a dancer who stated her favorite thing about being a dancer was the sense of camaraderie that she felt with other people in the company–that they were like family. I’ve also heard not so nice stories…
Have to say I’m not a big “Black Swan” fan either…I think that movie did more to taint ballet as a field than this reality TV show did…after all, at least people know this is reality TV. I do like the fact that it seems to be getting people talking a bit…that’s usually a good thing! 🙂 I appreciate you (and everyone else) ringing in to share your thoughts on this…
Although this article presents us with the heartbreaking truth, as the parent of a professional dancer, I can tell you that there are joyous moments, months, and years for dancers. What is remarkable to notice in the grand scheme of life is that unlike many who slave day in and day out for the almighty dollar to amass impermanent goods, dancers actually love what they do. They pick up and leave at the drop of a dime for opportunity, change, and love of what they do. The first thing they pack up is a dream and that is followed by a bag of pointe shoes, leotards, and heating pads. The window of a dancer is brief, but so is life.
When my daughter was 18, I watched a 3 hour Washington ballet audition that began with about 150 women. At the end of it all, my daughter and two others were told they would be called with a decision. We were in Penn station one hour later when we learned she had earned an apprentice position. She would need to begin in May so even though she graduated 8th in a class of 300, she could not attend graduation or prom. Neither one of us really cared. From washinton ballet she moved to festival ballet providence, advancing from company member to soloist, and next month she will continue her dream with ballet Idaho.
This world of ballet is competitive and grueling. The career teaches discipline, motivation, perseverance, time management, and sacrifice. Most dancers moonlight in evening and summer jobs and seek degrees in their “spare time”. After performing fouettes on stage under hot lights, most other tasks seem easy. My daughter is presently working on a masters degree in teaching elementary school. I have no clue how she managed to “squeeze” this in, but she did. She values family, probably because she has had to put off being a mom….nobody wants to see a pregnant ballerina!
Ballet is an addiction for most in the field, but there are far more addictions that are worse in this crazy world. As far as diversity, it does exist in ballet companies. Directors do a fairly good job in casting so that there appears to be none. Lastly, team work is the glue that holds a ballet company together. When they perform, they put aside their individual struggles and strive for a seamless performance as a unit of strength. If they fail to do this, the company will fold.
I taught my daughter to treat each day of life as a gift. There are no guarantees in life. On that note, I respect the trials and tribulations of a career in ballet.
I find it ironic that even you have fallen into the trap of thinking that “reality tv” constitutes “reality.” Like Gary said, the network had to add some drama to make the show interesting. Who would want to watch a show about a bunch of artists all lovey dovey creating ballets? Maybe me, maybe you, but not Joe Public, to which this show is marketed.
I do appreciate these reality shows, because like it or not, they have drawn a new younger audience to dance. All kinds of dance. Not just “ballet.” While they are infuriating at times in their focus on “drama,” The fact that they are there, on TV, says something about the allure of dance. And dance has needed an infusion of new audiences. I would say a more accurate statement is not that ballet doesn’t change, but ballet audiences haven’t changed. With the help of these TV shows, that is no longer the case.
What I am disappointed about your article is that you have taken the Jennifer Homansian view of ballet as a stagnant, dying art form. “Dance changes, but ballet does not…ballet has had such a difficult time remaining relevant as a field.” And also that you criticize the unattainable quest for perfection.
To tackle your first comment about the changelessness and relevancy of ballet: I completely disagree. If you have any kind of ballet history background you would remember that ballet is the art of change. Ballet is constantly re-inventing itself. Dancers today perform feats on stage that dancers 100 years ago, 50 years ago, hell 10 years ago, wouldn’t even think of trying in the classroom. Ballet has grown to new levels of creativity. If you have watched companies like Aspen Santa Fe Ballet, Cedar Lake, Lines and Complexions; these ballet companies are pushing the boundaries of what is possible in movement and art. Before them (and still, to some extent) companies like The Dutch National Ballet, Frankfurt Ballet, Cullberg Ballet, Netherlands Tanztheatre, Geneva Ballet, all have been pushing the envelope with great success. I would hardly call any of these ballet companies “irrelevant.”
Even within “Classical Ballet” there is timelessness, beauty, poetry. The stories of “Classical Ballet” may not have changed, just as the notes of classical music have not changed, but the artistry, the athleticism, the acting skills and the pure passion of the dance have all been elevated to levels never seen before.
As a former Classical and Contemporary ballet dancer, current ballet teacher and dance writer, I love to try to help audience members overcome their fears of taking a risk on dance, ballet or otherwise. I am a strong believer that if you tell people they won’t like something because it is boring, irrelevant or hasn’t evolved, they will believe you, and they will avoid it like the plague. But the honest truth is, ballet, good ballet, is rarely boring. It is athletic, passionate, inspiring and emotionally moving. There are all kinds of ways people can connect with ballet, classical or contemporary.
Maybe certain companies are becoming irrelevant or are unchanging, but ballet is definitely on the move, constantly evolving. It’s like the weather in the Midwest: if you don’t like it, wait a few minutes and it will change.
I appreciate greatly your comments, BalletPages, and wanted to take the time to address a few key points which perhaps were not immediately explained in this article.
First, I do not in any way think that reality television is reality. It is never my intention to draw that connection. I do, however, very much like to take what is presented as dance to the public eye and think about the implications of such statements and presentation. This was my aim here and has been the focus of all of my writing. I care very little for why the show portrays what it does, because the reasons why don’t negate the effects. However, I’m not willing to discount the presentation entirely, even if in reality format, when some of that presentation does seem to be held up by the experiences of other professional level dancers in my life, and still more who have chimed in here and on the other sites which have featured this article.
I would clarify that I’m not speaking of ballet as the entirety of the field, but rather as what is presented and perceived by the masses as the entirety of the field – in forms such as this show, and the general understanding of the art form. I would also like to clarify that the change I’m talking about is not simply contemporary ballet works. I’m also speaking to the idea of engaging with the existing material differently – applying a contemporary approach to classical form.
While I do not mean to disparage dancers who choose it, nor do I mean to put off people from experiencing it for themselves, the insinuation in your closing – that I should not discuss these negative aspects because it would somehow put people off of ballet, not only sits oddly with my personal scruples, but does nothing to address the issues facing dance. Dance is ancient and timeless; I truly do not see a day when it will not exist. However, will dance be fully embraced by the masses is what remains to be seen.
I posit that mere athleticism and silent acting is not enough to hold long term interest. I find that people who are engaged in the story being told, or can relate to the characters are far more likely to return. I’ve seen many of the classics done very well I’ve seen contemporary ballet works done well, and across the board for all the athleticism and technical prowess, it doesn’t make me want to see more. I find the performances too placed and wooden to be believable, I am interrupted from the simple enjoyment of movement by overwrought acting, and the stories – although entertaining, are tired in their presentation. This doesn’t mean I want to see ballet fail. I’m really curious to understand why this happens. If it is something quantifiable, measureable, evident then there is hope for change.
It is my fervent hope that ballet will find a way to marry the unique history and tradition of the form with a more contemporary approach, and it is to that end that I endeavor. However, glossing over serious issues in how dance is presented to the public, the kind of work we praise and the ways in which we interact with the audience through our performances, can do nothing but further the rift our art form has struggled with for a long while.