Pointe’s Post

What do Mariinsky Ballet’s Kimin Kim, Paris Opéra Ballet’s Sae Eun Park, Dutch National Ballet principal Young Gyu Choi, and American Ballet Theatre’s Joo Won Ahn, Sung Woo Han, and SunMi Park have in common? All are alumni of South Korea’s Korea National University of the Arts and/or the affiliated Korea National Institute for Gifted in Arts, collectively known as K-Arts. We spoke to Professor Sun Hee Kim about the school’s method of establishing a foundation for dancers and a typical day for students. Head to the link below for the full article! 🌟 https://lnkd.in/deArAQKw

🎭 Communication Takes Centre Stage at Queensland Ballet 🩰 Queensland Ballet's announcement of the departure of Artistic Director Leanne Benjamin was a MASTERCLASS in effective communication. Ms Benjamin had only recently been appointed, so her early departure was not great news. 👏 Here’s how Queensland Ballet got it right in 5 steps: 1. CLARITY & DIRECTNESS: They delivered the news with respect, grace and consideration. 2. CONTENT & REASONING: They explained the situation transparently and with clarity, leaving the audience in no doubt about what happened and how it was being addressed. 3. EMPATHY & IMPACT: The announcement recognised the impact on Queensland Ballet’s staff and the ballet community. 4. FORWARD-LOOKING & PROCESS: The roadmap to a solution and next steps were outlined. Certainty comes from clarity and planning. 5. ENGAGEMENT & OPENNESS: A positive and open-ended statement to close off the communication keeps the channel open, respecting staff and fan voices. I get frustrated 😩😡 by the instinct of many leaders to shy away from delivering bad news, opting to sugarcoat or obscure the facts. Queensland Ballet made the brave, intentional choice to acknowledge the issue, transparently share the impact, and proactively define a pathway forward. Nailed in 1! 🏆 Read the announcement here.👇🏾 🔍 Does your organisation have a plan for effectively, empathetically and respectfully communicating news - good and bad? #courageousleadership #communications #strategiccommunications #transparency #QueenslandBallet https://lnkd.in/gAf8dwR6

🚀 How New York City Ballet is Winning Over Young Audiences! New York City Ballet has had some clear success in attracting a younger crowd to performances. Here’s some of the key strategies they've been using: 🔹 Affordable Tickets: With the 30-for-30 program, anyone under 30 can snag any seat for just $30. They seem to be making ballet more accessible and more affordable for, well, more people. 🔹 Social Events for Young Professionals: Fun, post-show receptions and special evenings are turning ballet nights into social hotspots, perfect for networking and a great night out. 🔹 Cool Collaborations: Teaming up with artists like Solange has brought a fresh, youthful vibe to their performances, drawing in folks who might not have considered ballet before. 🔹 Engaging on Social Media: Dancers like Tiler Peck are sharing their lives on Instagram, making ballet dancers relatable and their art form more approachable. 🔹 Diverse and Inclusive Performances: By showcasing works from choreographers of color and featuring a diverse cast, they’re ensuring more people can see themselves represented on stage. 🔹 Focus on Wellness: Highlighting the importance of physical and mental health resonates with young audiences who prioritize well-being. The results? A big jump in younger ticket buyers, especially those in their 30s. New York City Ballet is not just reaching a younger audience—they’re winning over new fans who never thought they’d love ballet. Kudos to Jonathan Stafford, Wendy Whelan, and their whole team for opening the doors of ballet to a new generation! 🌟 The arts - yes, even ballet - are a place where everyone can feel welcome and excited to explore. #Ballet #AudienceDevelopment #PerformingArts #YouthEngagement #NYCB #InnovationInArts #CulturalDiversity #SocialMediaSuccess

Gia Kourlas gets to the pulse of ballet and her musings about City Ballet and Balanchine feel almost palpable. "... Ballet may be ballet no matter the century, but it also needs relevance in the moment. Modern life, either in its horror or euphoria, isn’t separate from the art form. How could it be? A ballet is not just a pretty thing on a stage. It needs to have a reason for being, a pulse. But just what ballet is right now has become confusing. Its branches seem to be growing at different speeds with different textures. Some are thick and sturdy, while others are wispy, frizzled at the ends. It sometimes seems as if live performances are just extensions of TikTok. What the ballet strives for — what companies and choreographers should always be striving for — is the opposite: a work of art that can live only on a stage. That is ballet at its most untouchable. ... ... I get that a gala speech is not where one goes to hear authentic artistic judgment. But what I saw at the gala didn’t advance anyvision. After the dances had been danced and the bows had been taken, questions started blowing up in my mind. What does ballet have to offer us now? And what is ballet? Why do choreographers make it? City Ballet was formed by George Balanchine and Lincoln Kirstein in 1948, with a desire to create repertory that would reimagine and advance classical dance, bringing it into the present. Producing new work is paramount to that vision. The spring season was billed as an exploration of City Ballet’s evolution and future. But instead of innovation, there was a sense of stagnation. And yet that foundational desire was very much on display during the company’s winter season: Two new ballets werehopeful signs of the future. Alexei Ratmansky’s extraordinary “Solitude” and Tiler Peck’s deft and musical “Concerto for Two Pianos” should never cycle out of the repertory. Of the two new works at the spring gala, one was cheerful and banal, the other earnest and banal. ... ... The new works in the winter season were different: They showed how dance can operate like a high-powered lens, stripping emotions down to their essence. When it works, life is reflected in the ballet just as the ballet remains timeless within the span of any life. Ratmansky’s “Solitude,” inspired by a photograph of a father kneeling next to the body of his dead son in Ukraine, was searing: a ballet for the 21st century. ..." https://lnkd.in/eecGZKp8

Read our latest blog post to discover the rich history of Swan Lake, from its origins to Tchaikovsky's iconic score, and its lasting impact on ballet. https://lnkd.in/gmg8GEuD

2024 Largest Contemporary and Modern Companies Report // Comparison to the Largest 125 Ballet & Classically Based Companies The report finds that in FY2022, the Largest 125 contemporary and modern companies operated with a total aggregate expenditure of $177,888,176. However, when compared to the Largest 125 ballet and classically based companies, which reported expenses 3.99 times higher than the Largest 125 contemporary and modern companies, a marked difference emerges in the operating scale between the two sectors. “As we examine these numbers, it’s clear that contemporary and modern dance companies operate with far fewer resources than their ballet counterparts, yet they continue to play a vital role in the cultural landscape,” said Senior Research Consultant Junyla Silmon. “This data is essential for the modern and contemporary dance world, showing funders and audiences the fiscal realities these companies face," Ms. Silmon added. "It’s a call to consider the funding inequities between classical dance and contemporary dance.” Read the full report at https://ow.ly/YpPF50U1OSZ

Central School of Ballet has been invited to join the World Dance Education Alliance. The WDEA, founded by Beijing Dance Academy, aims to create a collaborative platform for leading dance and arts education institutions from around the world. Nearly 70 institutions were invited to join, and Central was thrilled to attend the establishment ceremony in Beijing. Dr Jamieson Dryburgh, Director of Higher Education, presented on behalf of the school with an overview of Central entitled 'Nurturing Passion and Talent into Excellence.' We are proud to be collaborating with Beijing Dance Academy. The alliance will afford Central new international relationships with similar dance institutions. Beijing Dance Academy

🚙 Earlier this November, I had the honour of being invited to Hungary by former dance artist of Studio Wayne McGregor - Ballet Nights commissioned artist - and now independent #choreographer Jordan James Bridge to the world premiere of his first standalone work "Falling Into Jupiter." This was my first time visiting the Györi Ballet, and witnessing first hand how substantial corporate partnership in terms of millions of Euros can create the fertile grounds for game changing creativity - in this case AUDI HUNGARIA Zrt. This was also first time I have seen a corporate partner take the stage and and speak for an extended period outside of a boardroom/AGM - making significant statements their support a long term cultural vision for an entire city, with direct promises made live on stage to their captive audience. A new performance category for consideration indeed. With so much to celebrate, from Jordan's well deserved success, the incredible creative direction he fostered across dance, music, visual effects and theatre - and a wonderful post show reception - I spent a good portion of my recent 10 day break contemplating how significant partnerships are what drives true innovation, once again highlighting the need for the increasing professional dance population to be looking outside of the overstretched Arts Council England . In they case of Gyor, Why would a world class car brand be supporting the arts in this way? Well of course it just so happens that Gyor is home to their major manufacturing hub - opting to keep their production line european and ignore the allure of cheaper manufacturing to the east. WHAT IS MY POINT...? -> If you are going to convince an entire city population to remain in the location of your manufacturing hub, you had better be sure you keep them entertained, whether through the Ballet, Theatre and sports including Women's Handball! GREAT.... STILL WHAT IS MY POINT? Could there be any more important point being made than the fact in the face of this practical problem -> The practical answer is to fund DANCE! - No less a thriving company filled with ambitious artists, ambitious direction and a vision for the future aligned with a very wealthy corporate backer. An thus, my November revelation is complete. Anyone got the number for Rolls-Royce ...?

🩰 Celebrating Women Founders in Ballet 🩰 In honor of the women shaping the dance industry, Dance Data Project® presented a comprehensive listing of women-founded ballet and classically based professional companies in the United States. Tracking these women-founded ballet companies is essential for recognizing the role women play in shaping the American ballet sector. From innovation to regional influence, these companies embody talent, resilience, and endurance. This has the power to inspire aspiring dancers, choreographers, and industry leaders, challenging norms and pushing boundaries. For example, did you know that the first American ballet company, the Chicago Opera Ballet, was established in 1910? Dorothy Alexander made history in 1929 as the first woman to found a ballet company, laying the groundwork for future women pioneers in the field. Despite facing significant obstacles, many of these women established their companies before laws were enacted to protect women's rights. From the Equal Pay Act to the Equal Opportunity in Education Act, these women defied barriers to creating successful ballet companies. Here, 179 ballet companies founded or co-founded by women between 1929 and 2024, were compiled. The data distinguishes between currently active (i.e. Ajkun Ballet Theatre - Founded by Chiara Ajkun in 2000 Alabama Ballet - Founded by Dame Sonia Arova (Thor Sutowski) in 1981 Albany Berkshire Ballet - Founded by Madeline Cantarella in 1969 American Ballet Theatre and defunct/inactive companies, shedding light on the enduring impact of women in ballet. Methods & Limitations: DDP sourced founder names, gender, and years active primarily from company websites, social media, news articles, and archival resources. Despite their best efforts, they acknowledge the possibility that not all women-founded ballet companies are included, and invite contributions and feedback to enhance their understanding of women's contributions to the dance industry. #Arts #Culture #Dance #Ballet #Women #Data #Innovation #Empowerment #Representation #Leadership

Here’s was my first (and last) rehearsal in the studio with the full company before performing the Nutcracker Cavalier on stage. If you’ve been in this position, you know how stressful that first rehearsal can be—it’s the moment everyone gets to see you dance. The premiere is stressful too, of course. But here’s the thing: the audience doesn’t really know what “good” is most of the time. Sure, they’ll notice if you fall or if you’re off the music. But what truly captivates them is your artistry, your ability to make them feel. In the studio, it’s a completely different story. Ballet dancers focus on one thing above all else: technique. Every move, every detail is scrutinized by people with the sharpest eyes and the deepest understanding of the art. But here’s the upside: by the time the premiere rolls around, the toughest critics—the ones who really know ballet—have already made their judgments. This takes some of the weight off. You can step on stage with a little more peace, knowing the studio stress is behind you and the focus is now on creating an unforgettable experience for your audience. Do you have the same experience?