Welcome to your first day at ballet school! Put on your ballet shoes and let’s master your basics with author and New York City Ballet principal Ashley Bouder. Learn five basic lessons, then visit the costume room, before putting on your very own show of Sleeping Beauty at the end. There's no admissions policy to our Ballet School. Whether you are already learning ballet, or thinking about starting, this class if for you. Learn your pliés, first positions, jetés, pirouettes, and grand battements. But what happens if you fall? How do you stretch and look after your body? What do you eat to keep going through rehearsals? How do you get ready for class? No worries—it's all answered in this book from professional ballerina Ashley Bouder. Then go on to learn the characters and interpretations of Sleeping Beauty—taught in an inclusive way so anyone can dance the parts they want to. A helpful glossary at the back provides a review of ballet terms and how to pronounce them. Tutus are optional.

Using contemporary, full-color photos featuring children learning basic dance techniques in a real ballet studio, this first ballet book captures all the romance of dance for young readers.

Nine-year-old Clara has won a place at a top London ballet - it's what she's always wanted, but as well as excitement there are nerves too - what if all the other girls are better than her? And what about the friends she's leaving behind...? Book One: Clara gets a letter offering her a place at the ballet school. Although she's over the moon, it means saying goodbye to her old friends and ballet teacher, Miss Zindel, and preparing to start a new school and make new friends...

From the world-renowned ballet school, this is a beautifully illustrated, step-by-step guide to achieving a graceful dancer's body.

This absorbing book is ballet's 'biography' -- a revealing examination of a closed world, its competition and camaraderie, sexual politics, intimacies, pressures and, not least of all, its magic. Ballet companies have endeavoured to hide what is going on backstage lest the reality of highly strung nerves, constant fatigue and pain from injuries tarnish the illusion of ethereal figures and seemingly weightless steps in polished performances. But the audience's perceptions of fairy-tale worlds onstage are far removed from the experiences of the dancers themselves. The author, who trained to be a dancer, has been given an entrée to this private world that few outsiders ever see.Books on ballet tend to focus on performance. In contrast, this book, which draws on extensive fieldwork with major companies such as London's Royal Ballet, the American Ballet Theatre in New York, the Royal Swedish Ballet and the Ballett Frankfurt, is about dancers - how their careers are made and unmade and what happens in dance companies offstage. Anyone interested in the culture of ballet or the theatre, as well as students of anthropology, dance, performance and cultural studies, will want to read what really goes on when the curtain comes down.

In 1959, the Bolshoi Ballet arrived in New York for its first ever performances in the United States. The tour was part of the Soviet-American cultural exchange, arranged by the governments of the US and USSR as part of their Cold War strategies. This book explores the first tours of the exchange, by the Bolshoi in 1959 and 1962, by American Ballet Theatre in 1960, and by New York City Ballet in 1962. The tours opened up space for genuine appreciation of foreign ballet. American fans lined up overnight to buy tickets to the Bolshoi, and Soviet audiences packed massive theaters to see American companies. Political leaders, including Khrushchev and Kennedy, met with the dancers. The audience reaction, screaming and crying, was overwhelming. But the tours also began a series of deep misunderstandings. American and Soviet audiences did not view ballet in the same way. Each group experienced the other's ballet through the lens of their own aesthetics. Americans loved Soviet dancers but believed that Soviet ballets were old-fashioned and vulgar. Soviet audiences and critics likewise appreciated American technique and innovation but saw American choreography as empty and dry. Drawing on both Russian- and English-language archival sources, this book demonstrates that the separation between Soviet and American ballet lies less in how the ballets look and sound, and more in the ways that Soviet and American viewers were trained to see and hear. It suggests new ways to understand both Cold War cultural diplomacy and twentieth-century ballet.

Combining the arts of photography and dance, Ballet in Sarawak explores the history of ballet in Sarawak, a Malaysian state on the island of Borneo. Through photographs by Brendan Goh and narratives by Chan LayNa, this visual history tells the story of how ballet first emerged on the Sarawakian scene and how it took root in the small town of Kuching. LayNa shares the story of how she started her own dance academy in Kuching. The subsequent chapters offer a concise reference book and teaching guide for students and teachers alike on the history of ballet, technical details of dance movement and expression, what goes on backstage before curtain call, and the art of the performance. Ballet in Sarawak also details the difficulties of pursing dance, the challenges of insufficient funding and infrastructure, and lack of support from parents or institutions. Yet despite these difficulties, those associated with ballet continue to have hope conductive to the growth of this enduring dance form. It is a story of the strength of a people and culture told through photographs and words.