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Ballet artists and social/economic class


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Inspired by the thread on race and ballet....

As a ballet student in NY in the early 80s, I felt privileged to have been able to live in Manhattan on a shoestring, often working part time, and still get great training. But I don't know how any young person w/o means today could do what I and others of my generation did. Even at the time, however, there was a lot of implicit class snobbery at the school I went to (SAB), despite the fact that many fantastic dancers emerged from humble or working-class origins. My question to BTers is what do they think is the status of status today? Can only trust-fund babies afford to train in expensive cities like New York, Boston, or San Francisco? Does a tougher upbringing enrich the artistry of a dancer? Are there dancers today who boast of their humble beginnings? Or does our peculiarly American silence on class differences preclude a discussion of this topic? And how does class play out in other countries?

And what about choreographers?

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Thanks for bringing this up, Ray. Over twenty years ago, I began noticing the phenomenon of the children of the well-off or the truly impoverished, who dance on needs scholarships, for the truly wealthy, who can buy tickets at $100+. It brings to mind an eerie parallel of ballets in which the nobility danced the leads and the soloists, and the sans-culottes were the corps. And then came the Revolution!

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My question to BTers is what do they think is the status of status today? Can only trust-fund babies afford to train in expensive cities like New York, Boston, or San Francisco? Does a tougher upbringing enrich the artistry of a dancer? Are there dancers today who boast of their humble beginnings? Or does our peculiarly American silence on class differences preclude a discussion of this topic? And how does class play out in other countries?
So many great questions, Ray.

The issue of "class" is something Americans seem much less comfortable talking about than Europeans. On the other hand, it's incontrovertible that income inequities -- the gap between the rich and non-rich -- have now reached their highest levels since the 1920s. Ballet training is costly in terms of money, time and opportunity-cost (the value of what is given up so that one can devote one's efforts to ballet training). Only a few dancers will ever have a career that provides high incomes. Relatively few of us can afford frequent ballet tickets except by sacrificing other purchaes or putting off savings.

I'm especially interested in your questions about the socioeconomic status of ballet students, dancers, and audiences today, and how this compares to a generation or two ago. And on any comparisons that can be made between the way these things are handled in the US and, for instance, in Europe.

But any one of your questions could carry a thread of its own. Please weigh in, Ballet Talkers. All information, theories, and personal experience area welcome.

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I think Ray is definitely on to something here. In most circumstances ballet is absolutely not equally accessible to those of more modest means. This goes for tickets, training (even pointe shoes!), and being able to afford to work for peanuts.

It is true, however, that there is, under certain circumstances, some relief for dancers who are merely dedicated and not well-heeled. Student rush tickets are sometimes available, artistic directors of schools who are committed to access and diversity have several creative ways of addressing this issue as far as the training aspect goes. I also know some families make immense sacrifices—for example: literally juggling food and tuition expenses, taking out 2nd mortgages, sacrificing other discretionary expenses—to make ballet training possible for the children they love.

IMHO as long as the employment prospects remain as dismal as they are now (both in terms of the small number of jobs and the lack of a living wage), there must necessarily be an increasing reluctance to continue to subsidize a profession that is, frankly, not standing on its own two feet. In such a context, ballet remains a luxury ultimately available only for those who can afford it. I see no way around this hard economic reality. Currently, I think this trend is as gloomy as it has ever been, and getting worse by the moment.

To see the sad reality of this situation check the relevant threads on our sister board, Ballet Talk for Dancers. This represents the pipeline for dancers and audiences of the future. Also how many of these dancers will go on to train future students? What effect will this have on the future of ballet?

It is also instructive to compare European training—less accessible (more selective in selecting and training students)—and more accessible: more availability of state funding and more economically sustainable careers. I could be wrong about this contrast, and I don't know where Canada, Latin America, Australia, Asia, and (?) Africa fit into this picture. I'm curious to know more, however. Could others weigh in?

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This affects many of the lower economic classes today as they can't afford classes. Then their talent is somewhat overlooked by those who can pay to get in. Isn't this what's happening in Russia, too? American companies aren't subsidized by the government so they rely on their clients' money rather than treating talent first. Then ballet suffers. Well, perhaps this is where scholarships come in but there's a lot of unseen talent out there. Maybe it's like first pay first serve. >This is just what I think, remember

As for tougher upbringing enriching artistic quality, I think despite hardships or not it depends on the person. Surely there might be more depth since one would have to work harder in that area and strive to become what others already are, but those who weren't raised like that aren't limited and doesn't mean they didn't have to suffer in different areas. If you're raised one way - you're used to it. If another is raised another way - they're used to that. But going from one to the other...

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Even at the time, however, there was a lot of implicit class snobbery at the school I went to (SAB),

You're writing about the 1980's, Ray---and I felt the same thing in the late 1940's. In my teens, I also worked to pay for classes. It's the reason I never stayed at SAB; preferring the many excellent small studios in NYC.

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Economic status in capitalism is a rather large determinant of what a culture looks like. As long as the system creates a class divide and offers certain things to those at the top... denying them to others we will have this painful divide.

It can be ballet or boating... life offers more possibilities when you have cash.

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It is also instructive to compare European training—less accessible (more selective in selecting and training students)—and more accessible: more availability of state funding and more economically sustainable careers.
My impression, based on random reading, is that this is the case in countries with significant state subisides for the arts.

At the same time, there is relatively little of the huge American dependence on deep-pocket donors, another reflection of both the "free market," but also a reflection on the particularly "American" nature of the the class system -- in which the rich are VERY, and highly privileged, but usually are excpected to achieve social status through visible acts of philanthropy. It's sometimes said that bureaucracies of the sort that administer the grants to ballt companies in Europe are "conservative" by nature.

But, when it comes to cultural conservatism and a deep love of the middle of the road, nothing beats a Board of social prominent (or climbing) donors and their wives, which is the American way. It takes an exceptionally charismatiac Artistic Director to keep them willing to allow the company to strive and experiment, especially in smaller cities.

On a totally different point: I've always been impressed by the way in which certain Stallinist-model Communists states have made such a big thing of classical ballet -- often at huge economic cost related to the resources of the country. Apparently the personal preferences of people like Stalin and Castro, and the wish to capitalize (no pun) on an already-existing high-quality product, had something to do this with this.

The current Dance Now magazine has an interview with Alicia Alonso which shows that the favorism shown to the Ballet Nacional de Cuba results from a combination of (1) Alonso's drive and personality, and that of her former husband Fernando; (2) a culture that adores dance at all social levels, and, possibly most crucial, (3) the noblesse oblige of Fidel Castro. ("Indomitable Spirit. Alicia Alonso talks to Margaret Willis," Dance Now, Sprign 2007.

Soon after he had taken power, Castro called at the Alonsos' house and a surprised Fernando remembers him asking. "How much money do you need for the ballet company to start up again?" I answered: "About $100,000." And he gave us $200,000.
That was in late-50s dollars!
Castro remains a great friend of the ballet - and the Alonsos -- and usually attends spsecial performances and occasions. His absence at this year's festival was due to poor heath.
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I just read an article in the NY Times about the new NY Opera director Gerard Motier who is seeking specifically to reach out to the African American community as part of his mandate and vision.

Interesting in light of this discussion about race, class and inclusion.

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. . . there was a lot of implicit class snobbery at the school I went to (SAB), despite the fact that many fantastic dancers emerged from humble or working-class origins.
I wonder how much of that was due the clique mentality which is so intense during the adolescent years -- particularly among females (most ballet schools being dominated by the so-called fairer [in which sense?] sex). Of course, this exclusionary behavior can be more or less palpable in different environments, as atm suggests.
You're writing about the 1980's, Ray---and I felt the same thing in the late 1940's. In my teens, I also worked to pay for classes. It's the reason I never stayed at SAB; preferring the many excellent small studios in NYC.

The brilliantly gifted will always find their way to scholarships and stipends -- who wouldn't want to claim credit for sponsoring the next generation's Fonteyn? I recognize that these youngsters are miniscule in number, that for every one of them there are thousands for whom the economic hurdle is daunting. I don't think -- even in the most generously state-endowed systems -- we'll ever have enough money to support every dancer with professional potential.

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I wonder if Karl Marx ever went to the ballet... :unsure:

I doubt he did, though--or if he did, he would have hated it. Marxists are less interested in ballet than any other art, in my experience and from having looked at and read extensively many Marxist blogs in the last 2 years. They are even very specific about it--their disapproval and loathing--when I have brought it up. That there was ballet in the USSR surely has only to do with that it was Russian and already there is my guess. They had to use it just the way they had to employ a lot of White Russians in the bureaucracies if they were going to get various necessities, e.g., the KGB, up and running at all. They didn't throw out the jewels either.

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I wonder if Karl Marx ever went to the ballet... :dunno:

I doubt he did, though--or if he did, he would have hated it.

:unsure: There wasn't an awful lot of quality ballet in London in those days. And I can't imagine Marx enjoying an night off at the music hall.

I could be wrong, but those who were deeply concerned about the plight of European workers in the days of early iindustrial capitalism (the large majority of the population, if one includes the rural workers) may have considered 19th century ballet rather frivolous. Or even offensive, when many people saw the Paris Opera ballet as not much different from a brothel.

Some members of the Marxist Left embraced dance in the 20s and 30s when it became political and provocative in content and modern in technique.

However, I bet there were plenty of Marxist symptathizers in the audience when Balanchine began producing his abstract (no silly stories from the royal courts), though deeply aristocratic explorations of ballet movement, for NYCB in the late 1940s.

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The world's last remaining vestige of Marxism, Cuba, venerates its ballet. Not only that, but in a so-called classless society, they have more ranks of dancers than any other company I've ever seen.

Here's a list: First Dancers ("Primeros bailaries" --similar to POB etoile?); Principal Dancers; First Soloists; Soloists; Coryphees; Corps de Ballet. Come to think of it, there appear to be no apprentices.

Ballet Nacional de Cuba company roster, listed by rank

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Carbro said: 'The world's last remaining vestige of Marxism, Cuba'

Well, now, I think you may want to reconsider that a little. China (even though chock full of capitalism)? North Korea? Vietnam? Venezuela? And there may be some significant ballet and dance in these countries, but I know nothing of it, so would be interested to hear if someone is knowledgeable in this area.

'venerates its ballet. '

They do (at least that company), and I thoroughly enjoyed many performances of the Cuban Nacional at the Met in 1979.

'Not only that, but in a so-called classless society, they have more ranks of dancers than any other company I've ever seen.

Yes, since the 'classless society' has always turned out to end up 'so-called', the fact that ballet (probably stemming from the Russian Kruschchev bonds during the Bay of Pigs/Missile Crisis period) flourishes in at least one major company proves the lack of 'classlessness' all the more. I think it's interesting that Marxist experiments always end up with as many classes as liberal societies, but that they are more colorless. They were socialistically tied much more to Russia than China. I wonder if there is a lot of other ballet in Cuba, or if it's mainly the one important company. Anybody know something about other ballet and dance in Cuba?

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Well, now, I think you may want to reconsider that a little. China (even though chock full of capitalism)? North Korea? Vietnam? Venezuela? And there may be some significant ballet and dance in these countries, but I know nothing of it, so would be interested to hear if someone is knowledgeable in this area...I wonder if there is a lot of other ballet in Cuba, or if it's mainly the one important company. Anybody know something about other ballet and dance in Cuba?

Socialism is on the rise throughout Latin America, not just in Venezuela and Cuba, and it doesn't look like the Revolutionary Bolivarian Movement will be dying down anytime soon.

I would think that National Ballet of Cuba is the one important company; Cuba is not a very large country to begin with, quite unlike the US where it's virtually impossible to have a true national ballet and regional ballets flourish in its place.

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Among Cuban trained dancers, the National School opf Ballet in Havana is tops. But I've also seen Cuban-born dancers trained at the Professional School in Camaguey (Carlos Guerra, a principal at Miami City Ballet; Darian Aguila, who danced in Caracas, Julio Bocca's company and at Tulsa Ballet before coming to Ballet Florida).

I found these photos (dozens and dozens) from a 2006 production of Giselle by the Ballet de Camaguey

Fernando Alonso was head of Ballet de Camaguey for 18 years or so. The following is from a 2001 article on Cuban dancers in America:

Fernando divorced Alicia in 1974. "Alicia and I started to have a lot of differences so I left to Camaguey," he said referring to an Eastern city where the ballet company struggles to survive today. When he was head of it, the Ballet de Camaguey was successful, but competition with Havana for ballets and dancers tired Fernando. At the beginning of the Special Period in 1992, when the money flow from the Soviet Union dried up causing a major crisis in the island, he left for Mexico City to direct the Ballet Nacional there. Later he moved to the northern city of Monterrey to direct a local ballet company and later to head the dance department at a local university. Alberto, the ballet's principal choreographer, dealt with Alicia's temperament by travelling frequently, but by 1993, he too had had enough and left permanently. He is now [2001] in Miami, teaching at a community college and staging works to Gloria Estefan music.

Full story is here: Cubans 2001

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Thanks so much, Old Fashioned and Bart--and that article is fabulously interesting, colorful and well-written. I remember Esquivel well when he partnered Alicia in their last years dancing together, and was also interested that the company tours around the island--I should have realized this, but didn't, since, as mentioned, it's not a vast area.

Edited to add: I also remember the perfection of the corps in 'les Sylphides', they truly were sylphides. I had been surprised at how this company would have been so flawless in this work.

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Oh, SAB was exactly the same in the late 90's, and not just among the girls. I don't really think such a prestigious school in the heart of Manhattan will ever be much different unless society changes a great deal.

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In my experience, it wasn't just money--though that was a factor, but also, opportunity and distance. When my family moved back to the States, my ballet career went into a 'holding pattern' because the closest professional companies with schools were over 2hrs each way from my home. So commuting back & forth six+ days a week, and going to high-school (this in the days when there were NO gifted or performing arts charter/magnet schools in the State nevermind my region) was not a possibility. No one had money for boarding schools, summer intensives were unheard of, and scholarships limited. My parents would have dropped dead from shock if I'd said I wanted to train in NYC. Boston already was too far for them. Tutoring at home was never considered, and GED's weren't invented yet. It wasn't until one of those two companies finally opened an "adjunct" school in my area (only one hour each way from home) that I was able to continue my professional career. And when they left after 3+ yrs, so did my dance career again--just when I'd finally reached soloist. Probably one of the worst years of my life. So then I had to figure out what other career would allow me to use the experience and knowledge I had attained all those years as a dancer--(again, before "Transition for Dancers" was even an idea)--and here we are.

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'probably stemming from the Russian Kruschchev bonds during the Bay of Pigs/Missile Crisis period'

Ballet has been a part of Cuban society for a long time- my teachers were of my father's generation (he's 75) and older, who came to Miami to wait out the Revolution. There were classes in La Havana since at least 1931. I'll ask around about pre-revolutionary ballet. From my family's experience in exile, ballet is a huge part of the Cuban "old guard" that comprised the upper middle/ upper class pre-revolutionary society. This has led to it being part of a larger Cuban- American society, most girls take it for a while. When I was younger, I remember girls performing for gatherings in drawing room type situations. I'm 31- my memories date from about 1979, when I started dancing.

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