Beauty and a Beast

This post comes on the heels of the blockbuster Beauty & the Beast live-action version now playing in cinemas. I saw the beloved animated original in 1991 and was riveted by the theme and treatment of the movie. At the time, the animation was a cinematic achievement over the previous Disney cartoon film, and the original music, even more memorable. But what really blew me away was Belle, who was portrayed as not just beautiful (as all fairy tale princesses are) but also brooding, independent, strong-willed, smarter than the men, and...a bibliophile!

Fast-forward to 2017. Emma Watson is perfectly cast as Belle alongside a supporting cast of British acting stalwarts. Watson, really brings the character to life physically and gives credibility to the role. She is after all, the actress who planted "subversive feminist literature" all over the New York City subway and is a vocal Trump critic.

Belle and Emma. Emma and Belle seem almost identical and, for me, are both an ideal that ballerinas should aspire to. To be a Princess who is beautiful, strong and smart all at once. 

"My ballerinas are not frail," says Teacher Vic. For emphasis, he places Daniella's gym bag on her back while she planks. "I teach them to move logically and instinctively. Our exercises at the barre and in centre are designed to train both their minds and bodies to work together. Often, exercises are repeated until it is committed to memory, and so that the body knows what muscles to correctly recruit for one movement or more."

getting strong with waist belts during releve

In the VGUD Studio, where the teaching style is constantly innovative, evolving and motivational, ballet students are given a bit of the "royal treatment" by Teacher Vic, who crowns the girls with garlands to make them "feel the part".  This may seem like fun at first for the girls, until he starts putting plastic coasters on their elbows to balance while their arms are in second.

"I encourage them to feel like princesses," Teacher Vic says. "When they are exhausted by their entrechats, I tell them to say: I am tired but still beautiful!"

The girls are super smart too, if the combinations at the barre and in centre are any indication.  Teacher Vic seldom demonstrates but always adjusts, and it's amazing how the girls can comprehend instructions in a foreign language so quickly. 

In essence, the VGUD syllabus-if I may call it that-molds female dancers to be both Beauty and a Beast. In practice, I see it clearly in their petit/grand allegros, more so in their adagios, which are teeming with arabesques, attitudes, promenades and pirouettes. Without regular, deliberate and focused training...the adagio will be reduced to an unpleasant spectacle for the audience, with the dancer struggling to keep her balance and possibly getting injured in the long-term.

The beautiful Lily Macatangay (center, foreground) in Beast mode.

"Jete!"

They squealed one by one: "Jete!" Holding up pom-poms in the air, Alpha, Fran and Mia hopped over the hoola hoops on the floor. Each one brimming with glee as they waited their turn. This is another one of Teacher Vic's many tricks up his sleeve for his Creative Ballet class, which is known as, although starkly unique from,  "Baby Ballet" classes in other studios.

"Young children learn better in a playful environment," he says. In my view, this is almost identical to the Maria Montessori method which claims that the mind is most absorbent when  concepts are taught during play.

Look closely at Alpha's picture above and you will find that the elements of the jete, are executed. There is obviously the plie and transfer of weight from one foot to the other during the ballet leap.

By using fun props such as pom-poms, fairy wings and wands, tiaras and garlands, the kids readily buy into "ballet" and learn how to plie, turn, tendu and jete while pretending to be princesses.

Alpha begging to have another go at a jete.

Alpha holding up her skirt and walking like a princess.

Princess Aurora, Cinderella, Odette and Odile are classical ballet roles based from fantasy. Teacher Vic asserts, "Why not start the role-playing early?" 

I wished Bella and even I had learned ballet this way! I remember myself at six years old, fighting to keep my balance in centre, struggling to reach the barre and behave while trying to comprehend my teacher's French. 

Here's a link to the VGUDS Summer Intensive which includes Creative Ballet classes for children five years old and above.