17 replies to this topic

[leonid]

Amy Reusch, on Aug 28 2009, 10:07 PM, said:

If her repertoire included Aurora, wouldn't that qualify her as a ballerina?  (Honest question).

It is an interesting question you pose.

There can be quite a difference between dancers who perform ballerina roles and actual ballerinas for Baldina with her St. Petersburg training she would probably have stood out as having
a more refined style compared with her colleagues at the Bolshoi in those years she spent there which along with her highly talented husband's status ensured her getting leading roles.

It does depend who is measuring the status and the criteria being observed. If we talk about the ecole classique delineation of Danseuse Noble as equating with ballerina, many so called ballerinas of the past would perhaps, be excluded.

Today the title is generally obsolete except in the press. It was perhaps the power of the ballerina, especially the Prima Ballerina Assoluta, that brought about the title of Principal Dancer as an inclusive term for dancers who regularly perform leading roles which I think reflected an inclusivity of status within a company rather than the exclusivity of status of a ballerina or Prima Ballerina.

For those seriously interest in Academic Classical Ballet, who feel they know the criteria for a dancer being called a ballerina rather than a Principal Dancer also as matter of course perpetuate the term, but not everybody would set the same criteria for such a nomenclature.

I do not believe Alexandra Baldina was ever given the title of ballerina and every photograph I have seen of her she looks a demi-classical or even a demi-caractere dancer.

Ps
Miss Baldina appeared on Broadway in shows choreographed by her husband Theodore Kosloff and his brother Alexis.

[Helene]

The photo of Baldina is gorgeous.

[carbro]

Moderator's note:  Kai Davis, self-described "dedicated student of Mr. Long's," has asked us to post this on her behalf.

Since the age of 6 I trained at The Ruth Page Foundation School of Dance. When I became a teenager and began ditching school to take the 11:00 am ballet class with Larry Long, I knew I wanted to be a professional dancer. Being an African American, many of the teachers ignored my presence, one going as far as to tell me I would never make it as a ballerina. Larry was the only teacher at Ruth Page Foundation who believed in me. He moved me 2 levels ahead to be in his class every day. Larry taught amazing classes, that goes without saying, but for me, not only did he teach me how to dance. He taught me how to be an artist. He armed me with the knowledge of dance history, he prepared me for the difficulties I may face as a Black ballet dancer. He embraced my talents, pointed out my weakness and had a smack on the back and hug for me every day I saw him.

At the age of 17 I was offered a contract with Boston Ballet. I also danced with San Jose Ballet and Ballet British Columbia. Now retired, I teach ballet around the bay area. With every combination I create and every correction I give, Larry Long is in my thoughts. I miss him and owe my career to him.