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Other changes are not as positive. We now see "professional competitors" traveling from one competition to another--frequently without any stable attachment to a company--dancing the same repertory, often in front of the same jury! A growing number of promising young competition winners prefer to dance only as guests with two or three companies, performing limited tepertory of pas de deux, all too often, they have now idea what ballet their variation comes from, never having seen it or the ballet danced live. They often don't know who the original choreographer was, at what period the ballet was created, or who its original performers were. As for the composers, they remain a total mystery.
Not knowing these things does nothing to develop dance artists. We may soon face a generation woefully ignorant of all dance and its place in history and society.
To avoid this grim fate, we must continue to reform dance education. An enormous amount of energy, knowledge, and money--public and private--has been invested in training and educating young dancers, but little or nothing has been done to develop institutes for training teachers. The field is no longer dominated by the company's school, staffed with those who had performed the company's repertory. Today we must expect more of those who are going to be in charge of young people during their most vulnerable and crucial years. Whether affiliated with a company school or, more commonly, a private or state-supported institution, the faculty of the future must have a grasp of pedagogy, psychology, kinesiology, and dance history, as well as music, classical, romantic, and comtemporary repertories.
Companies, as well, are under pressure from backers to do someting new all the time, and company directors can easily choose from a virtually endless stream of dancers at auditions. Unfortunately, more and more ballet masters (not to mention choreographers) are beginning to take a hands-off attitude toward direct involvement in the development of young dancers.
Education is a process that takes years and does not allow for abrupt changes. It's too easy just to sit back and criticize. I therefore urge companies to bear with these schools, allow them time, offer help in a positive way, and engage in constant dialogue.
My generation should make certain that youngsters are equipped with the proper knowledge to make the right decisions and be taught to respect the traditions that have made current progress possible.
Dance must be recognized as a perfectly normal and respected profession. It requires a long period of study that should lead to a comparatively short career, followed by a second career and a rewarding life afterward.
The above artical was taken from dance magizine. It was written by Jenny J. Veldhuis who teaches dance in amsterdam.
2. Rudolf Nureyev
3. Margot Fonteyn
4. Anna Pavlova
5. Natalia Makrova
6. Vaslev Nijinsky and Martha Graham (tied)
7. Suzanne Farrell
8. Isadora Duncan and Gelsey Kirkland (tied)
9. Alicia Markova
10. Maria Tallchief and Paloma Herrera (tied)
2. Jerome Robbins
3. Martha Graham
4. Merce Cunningham
5. Serge Diaghilev
6. Lincoln Kirsten
7. Michel Fokine
8. Paul Taylor
9. Alvin Alley
10. Jose Limon
2. Rite of Spring
3. Les Sylphides
4. Agon
5. Apollo
6. Serenade
7. Romeo and Juliet
8. Afternoon of a Fawn
9. Prodigal Son
10. Four Termperaments