I wanted to start a new series: "How To Ballet" I believe this will be a 3-part series that explains the basic building blocks of ballet technique. It's a "crash course for ballet" and will break down the main elements of ballet structure and movement. These are my own ideas, or what I believe to be the easiest way to understand ballet. I hope it helps demystify the complicated details of ballet!
This is part 1: LINES
Part 2 will be: ROTATION, ROTATION, ROTATION!
Part 3 will be: Connection and Coordination
About Me:
Hi, my name is Victoria! I’m a ballet dancer and teacher trained in the Vaganova method. I make instructional videos without sugar-coating the gritty details. I danced professionally as a freelancer, and in a contemporary company for several years in NYC. Due to the pandemic, I now reside in rural Pennsylvania. I'm a little salty because I struggle with chronic illnesses & invisible disabilities, but I try to keep it real and raise awareness...
FAQs:
Are you actually Russian?:
Yes, I’m technically a tiny bit Russian.
We always thought my mother was 100% Italian. But when she took the ancestry test, we learned she’s actually a bit Middle Eastern and Circassian (Southern Russia) as well!
Did you train in Russia?:
No, I did not attend ballet school in Russia.
But all of my instructors have direct lineage to the Vaganova Academy. I received a majority of my training from Ballerina Irina Lebedeva, as well as other former principal dancers from the Mariinsky Ballet and Bolshoi Ballet.
What ballet academy did you attend?:
I never attended a formal ballet academy. All of my training is a culmination of public dance studios and open adult ballet classes that would run 2-3 days a week- with the occasional summer intensive. This is why I’m only about 85% competent in my execution and lessons. I just do the best with what i've got- The average American dancer might not notice this, but the Russian dancers definitely do!
Growing up near NYC, I took advantage of the most prestigious schools and teachers in the area, including; Gelsey Kirkland, Simon Kazantsev, Yaroslav Fadeyev, Katherine Healy, Leslie Browne, Lupe Serrano, and collegiate programs at American Ballet Theatre.
I did visit St. Petersburg and Moscow after I graduated college in 2012. I had the absolute honor of visiting the Vaganova Academy and observing some classes. I also took company class with Yacobson Ballet.
Where do you work as a professional?:
Since I got such a late start in my training, (and went to college right after high school) I didn’t join a company until I was in my late 20s. Until then, I was mostly teaching and freelancing. I did Nutcracker gigs, occasional guest appearances for studio productions, and entertainment gigs for high end parties. In 2019 I joined a contemporary ballet company in NYC. I left in 2021 when I moved to Pennsylvania. Now I teach in multiple studios in PA, but I'm trying to start my own ballet company!
What’s the story with your company?:
I’m the founder of Indigo Ballet, a collaborative, dancer-run company with no hierarchy. Currently, I’m working on building a repertoire of virtual performances (music videos) to show people what we have to offer. We will be performing for a live audience in Spring/Summer of 2024!
If you wish to donate towards this endeavor, funds will go directly to the dancers of Indigo Ballet. You can do so at- gofund.me/fe171a40
Why do you talk about your chronic illnesses?:
Firstly, this is just the platform where I have the most outreach. I am passionate about raising awareness about hidden illnesses, also called “invisible diseases.” I feel these illnesses are especially relevant to the average ballet dancer since; The field is dominated by AFABs that frequently gravitate towards dance because of natural flexibility. This correlates to hyper mobility spectrum disorders and connective tissue disorders which are rarely diagnosed, and can lead to serious problems later. AFABs also have higher rates of autoimmune disorders and are most likely to have our pain dismissed, if we are not already hiding it for fear of being seen as unreliable or weak.
The ‘teacher’ in me wants to educate any chance I get. If my shared experiences can help a dancer get a diagnosis, early treatment and a longer, healthier career; why wouldn’t I talk about it?