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Audition Headshot Tips
As ballet audition season quickly approaches it is time to get new audition photos and headshots. Audition photos can make or break your audition success, especially if you are unable to attend a national audition tour. So how do you ensure that your audition photos are up to par? Here are a few tips from the pros.
Tip #1 Hair up or hair down? This is a common question that comes up for dancers. While a common bun is always a good choice, sometimes it is nice for school or company directors to see what you look like with your hair down. Neither hair up or hair down is right or wrong. You should choose to have your headshot photo taken the way that you think looks best and presents YOU in the best way! Just no crazy hairstyles, okay?
You don’t want to look too different in your audition photo from how you will look in the audition. You want the director to remember you. Below are two examples of hairstyles for headshots.
The classic bun is always a great choice.
Tip #2 To smile or not to smile? Again, you want your headshot to present you in the best way possible. I am a huge fan of smiling in photos because it shows your personality in a positive light. Lots of professional dancer that I know took serious headshots. Make sure to bring a parent or friend with you when you are getting your photos taken. They can give you feedback on the spot and constructive criticism during your photo shoot.
Hair down is a nice contrast.
Tip #3 To get pro photos or not? With professional photography equipment being affordable these days, some dancers and their parents choose to take their headshots themselves. This cuts down on photographer costs big time and allows for unlimited time and shots. Be careful when doing at home headshots or audition shots. Prepare a background and make sure the lighting is adequate to prevent shadows.
Tip #4 Don’t look messy. This definitely isn’t time for a sweaty studio shot. Present yourself for your auditions photos just like you would for your audition. Keep hair sleek and makeup minimal. Put your best face forward. Remember in a Kodak moment you want to shine!
Follow these 4 tips when preparing for your audition headshots and you will be sure to get noticed! Remember, for more audition tips and tricks you can check out my website balletaudition.com where I cover everything you need to know for a successful audition.
Summer Program Savvy
As the end of June approaches many of you will head off to your very first summer ballet intensive program. With your suitcases packed have you left anything behind? You have surely packed enough leotards and pointe shoes to get you through the 3-6 weeks that you will be away from home. Have you forgotten the most important thing you will need for your summer intensive?
The most common thing that dancers forget to do before leaving for a ballet summer intensive program is set goals. Why are you doing this summer intensive program? To improve, right? But what exact areas of your dancing are you looking to improve? Let’s face it, without setting goals what exactly will you get out of your summer intensive experience?
Before you leave home (or even if you are in your first few weeks of the intensive) write down these questions in your ballet journal. ( I cover the journal details in a previous blog and in my book The Ballet Audition Preparation Guide)
What do I feel that I most need to improve on this summer? This could be anything from pirouettes to technique.
What have my teachers been encouraging me to improve on? This would be the corrections that you get in class or at the school year-end conference.
What do I need to do to make these corrections over the summer? Listen to the teachers, focus, etc
Why did I choose this summer intensive? List the key reasons that you decided to go to this particular summer program. Anything from teaching staff to city.
What do I most want to accomplish this summer at (fill in your summer intensive name) ? What is your ultimate goal in attending this particular summer program? Do you perhaps want to be asked to stay for this school’s year-round program?
By answering these questions and looking them over every few days, you will stay on track at your summer program. I know it sounds kind of dorky but if you really want to become the best dancer you have to set goals and remind yourself of those goals consistently. Have fun and make friends but remember, you are there to dance!
Patricia McBride and I at Chautauqua Summer Intensive
Complexions Contemporary Dance Review
As a professional dancer in San Diego I do not get many opportunities to see truly great dance companies perform without having to travel to another city. It has been a long time since I have been excited to see a company as I was when I purchased tickets to see Complexions Contemporary Dance perform at the Birch North Park Theatre in San Diego on Saturday, May 7, 2011 at 8:00 pm.
The evening started off with a piece called Moon Over Jupiter choreographed by Dwight Rhoden set to classical music by Sergei Rachmaninov. From the moment the curtain opened I knew that this one was going to knock my socks off. The Women wore nothing but leotards, showing off their tight and toned legs that even the best body builders would be envious of. The Men were shirtless sculptures of art that definitely showed off the demands of the intricate leg and foot work displayed in Rhoden’s choreography. I was wowed by this piece like I haven’t been in years. The choreography embodied the technical athleticism and intelligence that the dance world has not seen since George Balanchine. The “slides” which may have looked like mishaps or slips to uneducated audience members very much reminded me of the hip thrusts in the ballet Concerto Barroco (Balanchine). This was my favorite piece of the evening because of the stunning athleticism and stamina required by the dancers who are so lucky to work for such an amazing choreographer. Notable dancer was Sabra Perry who’s fluidity of movement shocked me. At first sight, this gorgeous long limbed dancer is awkwardly tall and very Darcy Bussell like. I have never seen long limbs move so effortlessly and Rhoden’s choreography clearly suits her well.
Moon Over Jupiter
After the first intermission three pieces were presented, none of which I was particularly fond of. Moody Boot Blues started off fabulously but I wished that it was longer. Desmond Richardson’s solo, Moonlight, was amazing and emotional of course but I would have liked to have seen a more dancy solo. This was a great break from the technical pieces though and I feel that the audience received it well. My least favorite piece of the evening was On Holiday which reminded me of being at one of my Dad’s ( a Jazz Musician) Jazz clubs as a kid. Great choreography, great concept but a bit boring and slow to watch.
Moonlight
The highlight of the evening was Rise, a piece choreographed to music by U2. The feel was automatically one of a rock concert with music blaring, smiling faces, and a feeling that dared the audience to get up and start head-banging. This piece was so much fun to watch and looked like even more fun to dance. It reminded me of one of my favorite ballets Brand New Day by Kevin O’Day, which was a ballet done to the music of Sting. Notable dancers were Patricia Hachey who’s flawless training and technique truly shined as the song lyrics radiated from her being and Natalia Alonso who’s gorgeous physique continued to amaze me throughout the evening.
Rise
Ballet Summer Intensive Checklist
You did it! You were accepted into the summer ballet intensive that you worked so hard to get in to. Now onto what to pack! Here is a list of a few items that you want to be sure not to forget.
1.) You’re probably super excited to take your new leotards, skirts, and warm-ups but don’t forget about your regular “street” clothes too! What will the weather be like in the city where you will be dancing? Places like Pittsburgh, New York or Austin are typically very hot in the Summer so you’ll want to pack lots of shorts and tank tops for example. P.S. Don’t forget your swimsuit!
2.) How many pairs of pointe shoes will you need? One pair of technique shoes will work but you need to be prepared when it comes to pointe shoes. For a six week program I would recommend bringing four to five pairs of pointe shoes. (be sure to save one pair for the workshop performance!)
3.) Are the studios air conditioned? This is something that will also determine how many pairs of pointe shoes you will go through. If you are going to be dancing in a warmer climate where there is no AC, you can anticipate that your pointe shoes will break down or “die” faster. Check into this before you leave just in case you need to pack an extra few pairs of shoes.
4.) Bring things to do. If you are staying in a dorm or with a host family you will more than likely have a curfew. This curfew could be early so you want to make sure to pack lots to do. I recommend bringing lots of books, dvds, games, magazines or a laptop if you have one.
5.) Don’t forget your camera. With all of the fun activities that your chaperones will have planned for you in your new city you don’t want to miss a Kodak moment! The photos you take and the memories that come with them will last you a lifetime.
6.) The last thing you want to be sure to take with you is a positive attitude. Embrace the new styles, techniques and teaching staff that you will be introduced to. Even if you get frustrated, stay open minded and your teachers will recognize how well you can overcome adversity. Remember: summer study is all about getting new perspective and walking away from the experience a new and improved dancer.
I hope that these tips help you with your ballet summer intensive program packing. As always feel free to send your questions in by emailing me at nikol@balletaudition.com. I am looking forward to hearing from you 
Black Swan – Take a Bow
Photo from perezhilton.com
I have waited quite some time to give my take as a professional ballet dancer on the movie Black Swan. Recent press regarding the controversy involving Sarah Lane (a beautiful American Ballet Theatre Dancer) as Natalie Portman’s “stunt double” has prompted me to break my silence. Having both experience on film and as a professional dancer I’m going to offer my perspective on the whole thing and how the dance world is so different from Hollywood.
After reading an Entertainment Weekly article written by Adam Markovitz, (you can read it here) it is clear that Ms. Lane is a bit upset over her role in the movie Black Swan. It seems that the producers didn’t properly define her role as a stunt double in the film. Unfortunately, being a stunt double is a very thankless job when it comes to academy awards.
Just as Lane is quoted as saying that Portman’s portrayal of a dancer is “demeaning to the profession (ballet),” I feel that Lane’s primadonna attitude in these articles doesn’t make the profession look much better. This primadonna attitude is exactly the reason why dancers have such a (excuse my language) bitchy reputation.
Could legal issues follow these accusations? Lane claims that though she was “told not to talk about her work to the press” there was no non-disclosure clause in her contract. So who advised Ms. Lane to speak up? Surely she has an agent. Surely someone went over the contract with her. I understand the work that Lane put into the few dance scenes that were in Black Swan, but I do not think it is right for her to slam Portman and the movie. This is something that should have been advised against, and if this is merely a business issue, why is it being aired out publicly?
On to the Oscar Controversy:
Whomever did the dancing in the movie is not the reason why it won an Oscar. I understand that some in the dance community feel that Natalie Portman won the Oscar for her “upper body” portrayal of a dancer, but if you truly watch the film you will see that it is far more than that. Natalie Portman received a much deserved Oscar for her work as an actress, not as a dancer. In fact, if you watch the movie again you will see that there really isn’t much dancing in the movie at all. Has Lane seen the movie?
So why the controversy? One thing that us dancers have is pride. Our profession feeds off of acknowledgment (think bows at the end of a performance) and acceptance. I think that Lane feels the need for a bit of closure since she didn’t get to take a “bow” after her performance as Ms. Portman’s stunt double. Slamming the movie you worked on and the actress who’s “acting” awarded her an Oscar is hardly applause worthy.
I have yet to read a response to this controversy by the ever poised Natalie Portman’s who’s dancer fiance Benjamin Millepied has spoken up saying that “85 percent of that movie is Natalie.” Will we hear a reply from her? Also, please do not see this as an attack on Ms. Lane or her dancing, rather a look into the business side of things. I am looking forward to seeing how this one unfolds.
This Blog post was inspired by the Entertainment Weekly Article “Black Swan double claims Natalie Portman only did 5 percent of full body dance shots in the movie” Written by Adam Markovitz. http://insidemovies.ew.com/2011/03/25/portman-black-swan-double/
Ballet Strength Pointe Magazine debut
It has taken me a while to share this article with you and I finally got a chance to scan it to my computer today. I reformatted the look of the article a bit to make it easier to read. (there was a dreadful photo right in the middle of the page that I got rid of 
and added one of myself, of course) Although I was inaccurately quoted on several occasions, I still feel that it is a huge accomplishment for myself and Ballet Strength to be part of the elite few who have had the opportunity to share their wisdom in Pointe and am extremely thankful for the opportunity.
If you are interested in having your questions answered by me on my blog or by video blog, send your questions to nikol@balletaudition.com. I look forward to helping you!
Common Ballet Injuries – Prevention Tips
When it comes to ballet there aren’t a whole lot of dancers out there who can honestly say that they have never had an injury. Whether it’s an injury as major or career ending as an Achilles tendon rupture or an injury as minor as a shin splint, it is imperative that the root of the problem be discovered.
Luckily today there are preventative measures being taken by ballet companies and schools lead by younger artistic staffs to keep dancers fine tuned. In the past there were ballet teachers and company artistic directors who were not educated on injury prevention for dancers, thus indirectly encouraging dancers to continue through injuries shortening the life of their career.
Common injuries for dancing include (but are not limited to);
Achilles Tendonitis
Ankle Sprains
Patellar Tendonitis
Piriformis Syndrome
Lower back pain
Rotator Cuff
Broken Toes/Feet
Check out a complete list on the Harkness Center for Dance Injuries website. It’s very helpful.
Of course there are ways to prevent some of these injuries through core conditioning, pilates, strength training, and ballet cross training. Most ballet companies have on site physical therapists who work with dancers daily aches and pains and can prescribe a correct physical therapy routine. There is also the Ballet Strength DVD which has a library of exercises that you can do to prevent injury and improve strength.
As dancers today, there is no excuse to allow the body to be plagued by injury and pain. With all of the helpful resources available dancers are extending their careers well into their 30′s. Don’t wait to address your injury prone areas…you don’t want to wait until it’s too late!
Ballet Strength DVD Secrets
I am pleased to announce the launch of my new Ballet Strength DVD. I have been working hard over the past few months to carefully choose and design exercises that will help dancers improve their jumps, turns, core stability, and most importantly help with injury prevention.
You can learn more and get your very own copy by clicking here >> I want a copy of the Ballet Strength DVD
Here is a video preview of some of what the Ballet Strength DVD has to offer!
Ballet Strength – How to Improve Turnout
Watch a sneak peek of my new Ballet Strength DVD coming out with this exercise designed to improve turn-out.
Ballet Strength Stretching Secrets
These stretches are best done after class.
If you are like the majority of dancers, your daily routine begins by showing up 30 minutes or so before ballet class starts to warm-up. The keyword here is “warm-up.” What most of you end up doing is stretching as a warm-up which may be causing more harm than good. Read on to find out the proven reasons why you should not be stretching before class.
If you are stretching in an effort to increase or enhance performance prior to ballet class or the big show, you are really doing yourself a great disservice. Static stretching results in a decrease in performance while dynamic stretching results in an increase in performance (*see reference 1 below).
Some of us don’t really know why we stretch before class…we just do it because we saw someone else doing it. I don’t know about you, but I never had a ballet instructor suggest stretching before class. They did however suggest warming-up. There is a big difference.
Your pre ballet class ritual should consist of a dynamic warm-up done in an effort to specifically turn-on and activate muscles through heightened neurological communication between the brain and muscle motor units. Stretching will not achieve this. Stretching should be done in an effort to recover and restore fatigued muscles after ballet class or performance. The goal of post class/ performance stretching would be to restore range of motion and/or to release tight muscle fibers to provide efficient blood flow which brings essential nutrients into the muscle to repair, restore, and recover.
A great dynamic warm-up for example would consist of high knee lifts (think marching in place), torso twists, arm circles, and believe it or not a jog around the ballet classroom to elevate the heart-rate and get the blood moving. How many of you have seen girls jogging around the room in auditions to warm-up and laughed at them for doing so? (now the joke is on you!)
If you are looking to maximize those splits or extension, work on your deep stretching after class from now on. Also, be sure to give a dynamic warm-up a try before class this week and notice the difference in the way your muscles feel during class. I’m looking forward to hearing your throughts and experiences with this!
Committed to Your Dancing,
Nikol Klein
www.balletstrength.com
www.balletaudition.com
*Resources:[1] L. Parsons, N. Maxwell, C.Elniff, M. Jacka, and N. Heerschee Static vs. Dynamic Stretching on Vertical Jump and Standing Long Jump (2006), Greg Romero Coaching (2011)
Ballet Audition Tips
