What is the difference between vaganova cecchetti ballet

We talked with dance psychologist Dr. Lucie Clements and two multifaceted dancers, Kristen Harlow a musical theater dancer pursuing a career in NYC and Kentucky and Kallie Takahashi a dancer in her final year at New York University's Tisch School of the Arts , and got the inside scoop on how having hobbies outside of dance can inform your artistry, expand your range and help prevent burnout. Dance Spirit : Are dancers less committed to dance if they have other passions? Lucie Clements: Definitely not, in fact I would always encourage a dancer to have more than one passion.

Having multiple hobbies helps you to maintain balance in your life, brings perspective, and will also bring lots of new skills into your life that will likely transfer into dance. DS : What's the difference between a commitment to dance and an all-consuming obsession with dance?

LC: In psychology we call the distinction between commitment and all-consuming hobbies either harmonious or obsessive passions.

A harmonious passion means that dance is in harmony with other activities, is associated with positive emotions, and we know that we would manage if we were injured. Essentially, this is where a person makes an autonomous choice to have dance in their life, and makes time and space for other things, too. An obsessive passion, by contrast, is one where we live and breathe dance, at the cost of other hobbies, possibly even friendships or relationships, and especially our own well-being.

This sort of commitment could lead to what's known as a "controlled internalization"—we are dancing because we feel compelled to since we can't imagine life without it, rather than doing it because we love it. Always remember to check in and ask yourself if dance is in harmony with the rest of who you are.

LC: Having lots of interests builds a broader self-concept, which relates to the way we label ourselves "I am a dancer," "I am a swimmer," "I am a sister" , but also the values we hold most strongly e. Self-concept is really key to our well-being, it gives rise to our evaluations of our self-worth and self-esteem. When a dancer experiences loss in dance, such as injury, a series of 'no's at an audition, or a long time without work, their self-concept could be wiped out if all they label themselves as is 'A dancer.

Someone who has a variety of hobbies can draw on the other parts of who they are to boost their self-esteem and find purpose.

DS : Are there any risks associated with pursuing other interests that we should be wary of? LC: Doing too many activities can lead to burnout. To keep burnout at bay, don't forget to make rest and self-care your hobbies too! Kristen Harlow on the relationship between dance commitment and hobbies: "I believe dance can still be your favorite hobby, as you allow yourself to explore new creative outlets.

That is the beauty of being an artist: We can use our love for art to try new things! During the pandemic, all I wanted to do was spread joy, and because we couldn't be together dancing in NYC, baking became the next best thing for me. Kristen Harlow on the similarities between baking and dancing: "Ever since I started Kristen's Kreations, I have realized probably thousands of different similarities between the two.

Dance for me has always been my source of joy and motivation, and baking quickly became the same. Kallie Takahashi on her own nondance hobbies: "I love to sew and design my own clothes. Sometimes I will just do small alterations on old pieces that I already own, sometimes I'll buy something knowing I want to completely take it apart, or I will even start from scratch by picking out the fabric and dreaming up whatever I can imagine. Kallie Takahashi on the lesson both dance and sewing have taught her: "Patience is everything.

You aren't going to get it right on the first try, but that doesn't mean you won't learn something on the way.

Kallie Takahashi on the benefits of being versatile: "Expanding your horizons allows you to be a more well-rounded individual and gives you more outlets to express yourself. And who knows, the industry is so versatile, maybe that other interest will help you in your dance career in the long run—special skills and all! Kallie Takahashi models the pants she made. Photo courtesy of Kallie Takahashi. Ultimately, finding balance with dance and other hobbies might be challenging to navigate at first, but it is well worth the work in order to let your best qualities shine.

Angyil's list of battle wins is so long, you'd be forgiven for assuming she's been a hip hopper her whole life. But back when she was a tiny dancer, Angyil actually started out with ballet classes in Kansas City, Missouri. Photo courtesy of Red Bull.

Angyil: I originally was in a bunch of different after-school activities: the robotics team, the debate team, all of these teams. And then dance became an activity at my school. I fell in love, and went on to a performing arts school where I studied ballet, jazz, Graham modern, tap. Angyil: A lot of the Ailey teachers would come to Kansas City every summer. At the end of the intensive, they picked students who they thought had a promising future. You may be working on the same technical elements over a period time but will likely receive many variations in class that incorporate the elements with different combinations , tempos , accent and so on.

I'm going to try to get a video "resume' together so that I can show them my technique before hand. Yet, Checchetti is Italian and Vaganova is Russian. There are just some minute differences. That's all. No method is more, or less, valid than any other, but there is more to it than it than simply being Italian or Russian, not to mention the other methods such as RAD, Bournonville , etc.. Beyond personal preferences, things that seem superficial on paper can be a different story when you are asked to change gears mentally and physically from what has become second nature after years of study in any given method.

Some adjust more quickly and easily than others, but generally people need some time. More on topic, Extra information via video can be helpful for your new instructors, but many studios want new dancers new to their studio to take class for placement as well. Don't feel weird if they want to see you in class in addition to a video.

I primarily am from a Vaganova background, but have taken Cecchetti as well, and always found it helpful to take a placement class everywhere I've danced, but especially in a method I'm less experienced with personally. The book outlined her ideas on ballet technique and pedagogy. This notated and progressive training program has produced some of the best dancers in the world, includi ng Anna Pavlova, Natalia Makarova , Rudolf Nureyev , Mikhail Baryshnikov , the legendary choreographer George Balanchine , and professional dancers in almost every company in the world.

In , the school was renamed the Vaganova Ballet Academy in recognition of her achievements. Today the Vaganova method is the most common method of teaching ballet in Russia.

It is also widely used in Europe and in North America. The Vaganova method is considered to be very clean, with precise movements that express clean lines yet softness underneath. There are eight levels up to diploma that this international syllabus follows. Early training focuses on epaulement , or the stylized turning of the shoulders and body, which is partnered with the development of total stability and strength in the back to produce harmonious coordination of the body and continuity of movement.

This core of strength enables consistently precise, easy movement of the body; the training in epaulement, in turn, instills in the dancer an intuitive anticipation of how best to use every part of his or her body to evoke breathtaking results, right down to the hands and eyes. The Vaganova Method's codified technical approach thus makes for INJURY-FREE training emphasizing the simultaneous development of both technical proficiency and individual artistry, and a complete range of movemental expression that comes out of proper placement and a strong classical dance foundation.

This scientifically proven method involves the systematic study of all ballet movements by breaking them down into their separate elements and is characterized by impeccable precision, attention to detail, ease of execution, emotion-evoking grace, and individual creativity. The Cecchetti method is a ballet training method devised by the Italian ballet master Enrico Cecchetti The method is a strict training system with special concern for anatomy within the confines of classical ballet technique, and seeks to develop the essential characteristics of dance in its students through a rigid training regime.

The goal is for the student to learn to dance by studying and internalizing the basic principles, in an effort to become self-reliant rather than imitating the movements executed by their teacher. The method traditionally has seven grades with examinations up to diploma level.

This method ensures that different types of steps are practiced in a planned sequence, and that each part of the body is worked evenly. Each exercise is executed to the left as well as to the right, beginning one side one week, and the other the next. As with all ballet training techniques, the Cecchetti method teaches the student to think of the movement of the foot, leg, arm, and head, not as something apart, but in its relation to the whole body, to develop a feeling for graceful lines.

Cecchetti laid down that it is more important to execute an exercise correctly once, than to do it a dozen times carelessly. Quality rather than quantity is the guiding rule. But I notice a difference in my dancing compared to the other students, majority of whom have trained in Vaganova all along.

For example, I was always taught that the arm in arabesque should be no higher than eye level, rather than lifted with a slight arch in the back. Simplicity was stressed over expression. I'm curious to know if these are essential differences among the styles, idiosyncracies in my training, or idiosyncracies of this particular teacher a lot of the dancers began studying as adults with this particular teacher.

So far, the instructor has not said anything about it and seems relatively pleased with the way I go about things, so I'm not overly anxious to change things that are still so ingrained when I have so many technique problems to work on, unless they are definitely incorrect. I appreciate any input you can give me on the topic and apologize if this has already been addressed! I did a search and didn't find anything particularly relevant.

The biggest issue to me is that these things are ingrained. The purpose of any training method is to train a dancer who can do whatever is needed for a choreographer. A well-trained dancer should be able to do any kind of port de bras, hold the arm at any height, put the toe in any place in retire, etc, etc.

Simplicity in training is an admirable goal. It is easier to train simply and add details in choreography, than to train in a complex ingrained fashion and then remove them later.

As long as you are getting good training, don't be concerned about the type of the source. Cecchetti is sort of a wellspring for most of western ballet. RAD started off as mostly Cecchetti.