August 25, 2023 • 25 mins
Join Sally as she talks with Franco De Vita, Ballet Master of the American Ballet Theatre. Franco shares his journey from dancing at the age of 8 to the genesis of the National Teacher Training Curriculum and how it became a global collaborative endeavor.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to the second season of the Dance Studio
podcast.
This podcast is for dancers,teachers, dance moms and
especially dance studio owners.
In the first season, we coveredtopics like scoliosis, eating
disorders and point shoereadiness, along with several
episodes on different dancecareer paths and awesome dance
(00:21):
programs for you and your dancestudents.
In the second season, you cancount on hearing from Tony Award
winners, american BalletTheater teachers, competition
judges and so much more.
The Dance Studio podcast fansare loving the information this
podcast provides.
Take it from season one guest,jennifer Milletto.
Speaker 2 (00:41):
My name is Jen Milletto and I am a former
student of Sally's, now dancingprofessionally at Disney.
As well as teaching dance as acollege professor, sally has
been my mentor through my entiredance career.
What I love about her and herpodcast is that she is not only
willing to be completely openabout everything that she has
learned in her career, but sheis also so curious about what
(01:04):
others have learned in theirunique experience, and she wants
to share all of it with herlisteners.
There is a reason why I havestuck with Sally all of these
years she is committed toadvocating for the success of
the dance community.
If you are a studio owner,teacher, dancer or aspiring to
be any of those things, do notmiss this podcast.
Speaker 1 (01:28):
Welcome Dance Studio owners.
Today we have the extremeprivilege of talking with ballet
master Franco DeVita of theAmerican Ballet Theater.
Welcome, Franco.
Speaker 3 (01:38):
Thank you, Sally.
Speaker 1 (01:39):
I'm so happy you're here today.
I really appreciate you beinghere Today.
We're going to be talking aboutthe American Ballet Theater
national training curriculum,but before we get started, I was
hoping that you could talk tous about your dance career and
your path to teaching ballet.
Speaker 3 (01:58):
I started when I was eight and I graduated at 16 in
Belgium, the Royal Conservatory.
At 15 and a half I joined thecompany because my director of
the school was the director ofthe company.
I dance in Germany, in France,in Belgium, in Italy.
I was in Florence when Iretired at 31.
(02:19):
I met Brenda Amling and I wasteaching for Brenda.
Brenda was teaching theChiquete Method in the school.
Then I did all my Chiquetequalification.
I think it was great becausewhen I started teaching I had no
idea what to do, particularlywith the younger one.
(02:40):
But to do a teacher trainingprogram, I feel for me it was a
revelation.
Another revelation was also tolearn the Chiquete word.
I come from the French schoolwhen it's excellent but the
upper body is not taken care oflike the Russian or the Italian
(03:01):
school.
I direct the school withRaymond for 14 years in Florence
.
Then through Peter Thuner wegot an invitation to come with
Alfred Ballin, connecticut.
I came.
I was there for four years.
Then back in New York I wasteaching for Alvin Ailey and
(03:22):
then Boston for Mico Nissenenand then ABT.
With ABT we started slowly todo the NTC, the National Teacher
Training Curriculum.
But I think this comes fromsuch an experience of teaching
before.
Speaker 1 (03:38):
How did that get started?
Whose idea was it to puttogether the curriculum?
Speaker 3 (03:44):
But the idea was because it was a retreat in
Casbanna with all the artisticstaff of the company.
Kevin Mackenzie and some of theValley Masters got the feeling
when you train a dancer in avery specific style, then when
you join the company,particularly a company like ABT,
(04:04):
when you need to do so manydifferent ballet, the repertoire
is huge.
It was sometimes difficult.
You need to retrain the dancerand involve Carl Peterson to
start to see when it waspossible to do a curriculum and
Carl actually phoned Raymondwhen we were in art further and
(04:27):
asked him to help him.
In fact Raymond was there fortwo weeks at the Paris Opera de
Royal Ballet to see a little bitwhat he was going on in this
school.
Then when I joined, kevinoffered me the direction of the
school, of the JKO school.
Then Raymond and I we startedreally working on.
It.
Took us a few years but in 1985, the curriculum was launched in
(04:50):
New York.
Speaker 1 (04:51):
And under your leadership, the American Ballet
Theater JKO School was honoredas the world's best ballet
academy.
What do you think you weredoing that set you apart from
others?
Speaker 3 (05:05):
I don't know maybe it was luck.
No, you know when you teach andyou know that, sally, because
you have a teacher too Okay fora student.
It's very important to find agood teacher, but a good teacher
needs to find a beautifulstudent, because it's two ways,
two ways, three do we need toreach each other?
(05:26):
And I think also I was verylucky to find beautiful students
.
Speaker 1 (05:31):
So you see students from all over the world.
What are you seeing that theirteachers are giving them that
you appreciate or admire?
Speaker 3 (05:40):
I think when the teacher gives the dancer a
beautiful technique with noaffectation, just cleanness,
musicality, good coordination.
I think you got all the packageand I was lucky also, I think,
because a lot of my studentscame from excellent school and
it was so good to collaboratewith this teacher.
Speaker 1 (06:03):
So how do you collaborate with a teacher?
Speaker 3 (06:06):
First of all, I never chose a student to give a
scholarship to take a student inthe school before talking with
the teacher, really, because Ithink it's something.
You need to be polite in acertain way and respectful and
the teacher needs to agree and,of course, the student can do
what he wants, but it'simportant to talk with the
(06:28):
teacher.
Raymond and I we got a studentfrom Florence during the Royal
Ballet School and we traveled toLondon to see the performance.
When I opened the program itwas the name of every single
student with the name of theschool where the student was
coming from, and Raymond and Ito see our name put in a program
(06:51):
at the Royal Ballet School.
Oh my God, it was veryemotional and we never forgot
that From the first performancewe did at ABT.
In the program we put the nameof the student and the name of
the school and so many teacherscall us and message and say
(07:11):
thank you so much.
But I think you need, when youtake a student in the school, is
because the student it doesn'thave any talent but it's well
trained and we need to recognizethe teacher and I think this
collaboration with the teacher,stara, just put in the name of
the school or the name of theteacher in the program.
Speaker 1 (07:32):
Both of you, you and Raymond, are such generous
teachers and people, and that'sone way that you show it.
I've been so impressed with howgenerous and kind you are with
all of your knowledge and all ofyour sharing the curriculum.
Not only does it create abeautiful dancer, but it also
puts the health, mental andphysical well-being of the
(07:55):
dancer first, in my opinion.
How can dance studios allacross the world implement your
program and how can it benefitthem?
Speaker 3 (08:05):
I think we were incredibly lucky with Raymond
because when we start theproject, ABT asked a 20 of the
most important doctorphysiotherapist in America and I
love America in this waybecause all these people give us
our and our work for free.
It was a donation and I thinkthis is great.
(08:26):
But two, we work on the dancingside, but then this doctor,
this physiotherapist, just to besure, it was first physically
right it was not to push thestudent too much and then
mentally, because when you wantto be a beautiful dancer you
(08:47):
need to be also mentally with noproblem and happy with yourself
.
It's the only way I come fromthe old school when the teacher
want to push us down or anyway,because when I put you down I
can build you up, but it doesn'twork like this.
Speaker 1 (09:06):
It doesn't even work a little bit no.
Speaker 3 (09:10):
Maybe, maybe you know we are all different and also,
when you teach, you really needto pay attention to every single
student, because some studentsyou can scream at doesn't care,
some you need to be careful ofwhat you say.
We are all different, lucky.
Speaker 1 (09:27):
I think you're right.
How can it help to tear someonedown?
It can only help to build themup.
Speaker 3 (09:33):
Exactly, and the student love you forever.
Speaker 1 (09:37):
That's right and that's the most important thing.
Do you want to talk a littlebit about the curriculum and why
it's so good?
I mean, I know it's good, butmaybe tell everybody how it
works, or we was lucky in a waybecause Raymond and I we got
different backgrounds.
Speaker 3 (09:55):
Raymond was trained in America.
I was trained in Europe when myschool followed the Paris Opera
curriculum, when we work incompany and it was a beginning
in France and Belgium when itwas the Cuban panel, all the
Cuban came.
Then we got an exposure to theCuban method.
(10:16):
Then of course the Russian andin our period in Florence and
also in America, the luck,raymond and I, we met Alice
Panko.
She was the last student of agroup in Avaganova, in a way,
because it was after I learnedShiketi with Allah.
The two methods were exactly thesame.
(10:38):
It was only beautiful dancingand every school has something
very special to offer.
Then we try with Raymond to putin the curriculum what is best.
Example the curriculum.
The Italian used the relax coupde pied.
The French used the fullstretch coup de pied, front and
back.
(10:58):
The Russian do the rap.
But the Italian is excellentfor the coordination of the jump
when you do the frappe.
The coup de pied front and backis important, partly for the
girl.
When the girl are on point,because you use this bougette,
the rap could be shaped yourfoot beautifully.
Then why to do only one, whenwe are lucky to have a three,
(11:20):
and we try really to take whatwas the best of every single
school and I think that's why itworked.
Speaker 1 (11:27):
I think so too.
Speaker 3 (11:28):
And the feedback of most of the teacher was very
positive.
Speaker 1 (11:32):
So, speaking of the teachers, the teachers can put
their students up for exams, yes, and the teachers can also take
exams to be certified.
Speaker 3 (11:42):
Yes.
Speaker 1 (11:43):
And so how would somebody train their students?
What would they have to do totrain their students for an exam
?
Speaker 3 (11:50):
But when you are certified you know the
programmer and the differencebetween the ABT curriculum and
some of the other method.
We don't ever set exercise.
We just have a certain numberof steps you need to cover
during the year and you give alittle bit more freedom to the
(12:12):
teacher to arrive at what isrequired.
And then the teacher preparedthe class, the students drew the
bar both sides, the center.
Both sides depend from theprimary and level one is one
hour examination Because theclass needs to be prepared.
The students need to memorizethe class.
But when we arrive at levelseven, level six, level five is
(12:37):
two hour class.
We got students from Canada whowas doing an exam in another
method and were so happy to showyou a full class both sides.
Then some of the dancer wasfeeling it can see me better
than only one time and exercise.
I understand that very much andthe teacher is in the room with
(13:00):
us because he conduct the exam.
Then I think it's fabulousbecause I remember when I
present my student in Italy forthe check-in examination and I
was not in the room andsometimes when I saw the result
I was a little bit wow.
But then I realized somestudent react very well during
(13:23):
an exam and some not so well.
And it doesn't take away howbeautiful you are and maybe it
can help the student to havesome performance quality also to
do a class with performance.
It can help you when you do anaudition.
Speaker 1 (13:39):
This episode of the Dance Studio podcast is
sponsored by Body Dynamics, anexperienced team focused on the
many dimensions of your health,from injury prevention to
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Your physical, mental andemotional well-being is in good
hands at Body Dynamics.
(14:00):
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(14:24):
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Or find them at Body DynamicsInc on Facebook and Instagram.
See how Body Dynamics can helpyou dance better, faster,
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What would you recommend to ayoung dancer today who's serious
(14:47):
about ballet and hoping topossibly become a professional?
What advice would you give them?
Speaker 3 (14:52):
Never give up.
Follow your dream, and I repeatthis every single class I teach
the best quality of the danceis determination.
I want to do it now, nottomorrow, I think really.
And then, of course, you havethe artistry, musicality,
(15:12):
everything you want.
But when you miss,determination is difficult.
Speaker 1 (15:17):
And you can't get that from anybody else.
It has to be inside of youExactly.
Speaker 3 (15:22):
You need to fight in a good way.
Your mother can't want it foryou, no, no.
Speaker 1 (15:27):
Exactly what would you hope that dance teachers are
conveying to their students allaround the world?
Speaker 3 (15:33):
We have a philosophy with Raymond because it's
beautiful to train aprofessional dancer, but because
I was so lucky in Italy, I ranmy private studio.
Then, with not the possibilityto show and audition my students
, I need to take everybody and Ithink it's very important to
(15:57):
train the professional one andalso the one don't have the
quality to become a balletdancer, because you train also
an audience and we need anaudience.
We saw with Raymond when we goback in Italy because we've got
the school for 14 years, some ofour students invite us, make
(16:17):
parti for us and say this wasthe best part of my life.
I was never a dancer, but wedid performance with you.
You was quite tough and veryprofessional.
Then we got an experience wenever forgot and I think this is
important.
It's not important to teachonly future professional dancer.
(16:40):
Everybody deserve the samequality of training.
Speaker 1 (16:46):
I got a call this morning from a parent and this
is a recurring call that I getfrom my students that leave me
and go on to the professionaltrack.
Around age 15, 16, therebecomes this overwhelm by the
student Too much training andthey're torn between living
their life or doing ballet.
(17:07):
Do you think that we areovertraining dancers at that age
, or too young of an agepossibly?
Or do you think it's justthat's kind of the separation
time where you know that youwant it and you have to go that
extra mile?
Speaker 3 (17:22):
I think we need to do a certain separation, but
working.
And now when we do the NTC forteacher, we have the lecturer of
Julie Dogarty and PeterMarshall, our two main
physiotherapists in the companythe two spoke so much about.
Yes, you want to be aprofessional dancer, you need to
do a certain number for our,but we need to keep the certain
(17:46):
amount of our and not too muchbecause you can burn yourself.
I remember when I joined theschool we work every single day
the 12 year old worker two tothree hours every day, but
Saturday and Sunday was off.
I pushed my student to dosummer program but to try to
have a mini-moment three weeksof during the summer, because
(18:10):
your body needs a moment of.
We need to make a healthybalance.
Speaker 1 (18:15):
I agree.
So do you do master classes?
Can people hire you to come totheir studio, their conference
and teach?
Yes, how do people follow youand get in touch with you?
Speaker 3 (18:26):
Some people was in touch with me with a messenger
because I'm in Facebook.
Some people, through ABT, senta message to ABT how can I be
contacted?
And now, because this pandemicwas bad but we learned a lot of
stuff.
Like during the pandemic, wedid a lot of masterclass in New
(18:47):
Zealand, in South Africa, inAustralia, hong Kong, because it
was a possibility, the studentwent in the studio, we was home,
and not to do a big travel wedid lately we was in Sweden to
do masterclass, we will go toItaly, but you'll also do them
(19:07):
on Zoom still.
Speaker 1 (19:08):
Yes, that's great.
Our studio uses Akeda softwareand we absolutely love it.
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parents, costume ordering toregistration, try Akeda today.
If you don't love it, theywon't charge you a thing.
Go to akedasoftwarecom, aka dasoftwarecom, to inquire about
(19:38):
your free trial today.
Okay, what teacher tip or trickcould you not live without that
you just keep in your backpocket and you use over and over
again when you're teaching.
Speaker 3 (19:50):
I think we became teacher and I hope because we
love.
I know it's a job, because allof us we need to have a job
because we need to live, but Ithink we are so lucky to do
something we love.
And when we remember that themoment we work in the studio and
also we all have problemsbecause life is not every day
(20:10):
easy but the moment we stepinside the studio we need to
forgot everything, it's greatfor the student but at the same
time it's great for us.
And when I give a lot ofpositive energy to my student,
when I teach, the student giveme back more than what I give.
Then you see the class going upand up and up is fabulous.
(20:31):
I was teaching when I was atthe ABT six hours every day.
Speaker 1 (20:35):
I finished the day and I feel okay because I've
seen you teach so many times andyou're such a fantastic,
fantastic teacher, because I dowhat I love.
That's so wonderful, and all ofyour students are so lucky to
have you.
Speaker 3 (20:51):
When I go and see the ABT website and the national
training curriculum and I seewhere we have teaching
everywhere in the world.
It's just something so, somagical and the people that
already examined that come backfor auditing.
It's incredible.
(21:13):
And during the pandemic thetwo-year pandemic lucky we was
in Florida.
We have a lot more space thanNew York, we have this huge room
.
But we did so many teachertraining programs on Zoom the
first year for the pre-primaryto three, we got 125 teachers
(21:33):
from everywhere in the world.
Speaker 1 (21:36):
So this podcast I started to just bring resources
and information to really likemy former self, my younger self,
my more intimidated self.
What would you say to a youngnew teacher who's kind of
feeling lacking in their ballettraining?
Speaker 3 (21:54):
We try to give the teacher a lot of tools,
particularly the new one, withno imposition, because everybody
can reach what you want indifferent way and with the same
like.
Sometimes I say, when we do theNTC, okay, I think maybe this
is a good way, but when you haveanother one, what is important
(22:16):
is the final product.
And because also, when you areyoung and I was young and I
remember I wrote all my class,every single class, was on paper
, with the counter, because itwas stressful and sometimes I
want to impress a little bit andmy class became too complicated
(22:36):
and then I realized slowly myclass getting simple and simple
and simple.
And I was teaching for AlvinEly one year and it was a day
with the student, was not reallycompletely there and I said,
come on, my class is so simpleand one of the girls say, Miss
Odevid, but it's so difficultbecause it's so simple, and I
(23:01):
say, wow, thank you, I love that.
But just to be there when youwalk in the studio, you need to
love your students, to be therefor your students.
I know I love and I think allthe teachers need to have a very
positive atmosphere in thestudio.
You need discipline, Absolutely.
(23:22):
But you need to say why youneed the discipline.
Not just because I want this, Aday I make the group do it was
a summer program the Grand Pliereight times because it was not
exactly what I asked.
And then I ask a girl youunderstand why?
(23:42):
She said no.
I say no, do it again.
And then I stop and I say I'mnot mean.
But I say you realize that youneed to pay attention to every
single detail the arms, the legs, the look, the focus, the
inclination of the head, theepaulom.
I say the day you will be luckyto join a company, you can look
(24:04):
on the legs, you be fired in aweek.
Suddenly the group completelychanged.
In the end of the classeverybody was around me.
Thank you so much, Thank you somuch.
Then everybody realized I wasmean.
Oh yeah, Eight times compliesmeaner.
But everybody understand why.
And when I got the class theweek after, everybody was paying
(24:27):
so much attention.
Speaker 1 (24:29):
Because they had a reason to.
They understood the reason to.
Speaker 3 (24:33):
We need to give a reason to everything, but why
not?
Speaker 1 (24:39):
That sounds very simply difficult to do eight
Grand Pliers but wonderful, agreat gift.
You are truly a great gift,franco, to your students and to
the world, and I reallyappreciate you doing this
podcast with us.
It's going to help so manypeople understand their students
(24:59):
themselves and hopefully accessthe training that's available
to them without intimidation orfear, because it's there to help
them improve all of theirclasses, and so I hope people
look into it.
I found it to be extremelybeneficial and so do my students
, so thank you so much for doingthis interview.
(25:21):
I really appreciate you.
Speaker 3 (25:22):
Thank you so much, sally.
First of all, fantastic to seeyou after a long time.
I hope we see each other soonerin person, but thank you so
much for inviting me.
It was a great, great pleasure.
Speaker 1 (25:35):
Thanks for listening and don't forget.
Please rate and review thisshow and share it with a friend.
Welcome to the second season of the Dance Studio
podcast.
This podcast is for dancers,teachers, dance moms and
especially dance studio owners.
In the first season, we coveredtopics like scoliosis, eating
disorders and point shoereadiness, along with several
episodes on different dancecareer paths and awesome dance
(00:21):
programs for you and your dancestudents.
In the second season, you cancount on hearing from Tony Award
winners, american BalletTheater teachers, competition
judges and so much more.
The Dance Studio podcast fansare loving the information this
podcast provides.
Take it from season one guest,jennifer Milletto.
Speaker 2 (00:41):
My name is Jen Milletto and I am a former
student of Sally's, now dancingprofessionally at Disney.
As well as teaching dance as acollege professor, sally has
been my mentor through my entiredance career.
What I love about her and herpodcast is that she is not only
willing to be completely openabout everything that she has
learned in her career, but sheis also so curious about what
(01:04):
others have learned in theirunique experience, and she wants
to share all of it with herlisteners.
There is a reason why I havestuck with Sally all of these
years she is committed toadvocating for the success of
the dance community.
If you are a studio owner,teacher, dancer or aspiring to
be any of those things, do notmiss this podcast.
Speaker 1 (01:28):
Welcome Dance Studio owners.
Today we have the extremeprivilege of talking with ballet
master Franco DeVita of theAmerican Ballet Theater.
Welcome, Franco.
Speaker 3 (01:38):
Thank you, Sally.
Speaker 1 (01:39):
I'm so happy you're here today.
I really appreciate you beinghere Today.
We're going to be talking aboutthe American Ballet Theater
national training curriculum,but before we get started, I was
hoping that you could talk tous about your dance career and
your path to teaching ballet.
Speaker 3 (01:58):
I started when I was eight and I graduated at 16 in
Belgium, the Royal Conservatory.
At 15 and a half I joined thecompany because my director of
the school was the director ofthe company.
I dance in Germany, in France,in Belgium, in Italy.
I was in Florence when Iretired at 31.
(02:19):
I met Brenda Amling and I wasteaching for Brenda.
Brenda was teaching theChiquete Method in the school.
Then I did all my Chiquetequalification.
I think it was great becausewhen I started teaching I had no
idea what to do, particularlywith the younger one.
(02:40):
But to do a teacher trainingprogram, I feel for me it was a
revelation.
Another revelation was also tolearn the Chiquete word.
I come from the French schoolwhen it's excellent but the
upper body is not taken care oflike the Russian or the Italian
(03:01):
school.
I direct the school withRaymond for 14 years in Florence
.
Then through Peter Thuner wegot an invitation to come with
Alfred Ballin, connecticut.
I came.
I was there for four years.
Then back in New York I wasteaching for Alvin Ailey and
(03:22):
then Boston for Mico Nissenenand then ABT.
With ABT we started slowly todo the NTC, the National Teacher
Training Curriculum.
But I think this comes fromsuch an experience of teaching
before.
Speaker 1 (03:38):
How did that get started?
Whose idea was it to puttogether the curriculum?
Speaker 3 (03:44):
But the idea was because it was a retreat in
Casbanna with all the artisticstaff of the company.
Kevin Mackenzie and some of theValley Masters got the feeling
when you train a dancer in avery specific style, then when
you join the company,particularly a company like ABT,
(04:04):
when you need to do so manydifferent ballet, the repertoire
is huge.
It was sometimes difficult.
You need to retrain the dancerand involve Carl Peterson to
start to see when it waspossible to do a curriculum and
Carl actually phoned Raymondwhen we were in art further and
(04:27):
asked him to help him.
In fact Raymond was there fortwo weeks at the Paris Opera de
Royal Ballet to see a little bitwhat he was going on in this
school.
Then when I joined, kevinoffered me the direction of the
school, of the JKO school.
Then Raymond and I we startedreally working on.
It.
Took us a few years but in 1985, the curriculum was launched in
(04:50):
New York.
Speaker 1 (04:51):
And under your leadership, the American Ballet
Theater JKO School was honoredas the world's best ballet
academy.
What do you think you weredoing that set you apart from
others?
Speaker 3 (05:05):
I don't know maybe it was luck.
No, you know when you teach andyou know that, sally, because
you have a teacher too Okay fora student.
It's very important to find agood teacher, but a good teacher
needs to find a beautifulstudent, because it's two ways,
two ways, three do we need toreach each other?
(05:26):
And I think also I was verylucky to find beautiful students
.
Speaker 1 (05:31):
So you see students from all over the world.
What are you seeing that theirteachers are giving them that
you appreciate or admire?
Speaker 3 (05:40):
I think when the teacher gives the dancer a
beautiful technique with noaffectation, just cleanness,
musicality, good coordination.
I think you got all the packageand I was lucky also, I think,
because a lot of my studentscame from excellent school and
it was so good to collaboratewith this teacher.
Speaker 1 (06:03):
So how do you collaborate with a teacher?
Speaker 3 (06:06):
First of all, I never chose a student to give a
scholarship to take a student inthe school before talking with
the teacher, really, because Ithink it's something.
You need to be polite in acertain way and respectful and
the teacher needs to agree and,of course, the student can do
what he wants, but it'simportant to talk with the
(06:28):
teacher.
Raymond and I we got a studentfrom Florence during the Royal
Ballet School and we traveled toLondon to see the performance.
When I opened the program itwas the name of every single
student with the name of theschool where the student was
coming from, and Raymond and Ito see our name put in a program
(06:51):
at the Royal Ballet School.
Oh my God, it was veryemotional and we never forgot
that From the first performancewe did at ABT.
In the program we put the nameof the student and the name of
the school and so many teacherscall us and message and say
(07:11):
thank you so much.
But I think you need, when youtake a student in the school, is
because the student it doesn'thave any talent but it's well
trained and we need to recognizethe teacher and I think this
collaboration with the teacher,stara, just put in the name of
the school or the name of theteacher in the program.
Speaker 1 (07:32):
Both of you, you and Raymond, are such generous
teachers and people, and that'sone way that you show it.
I've been so impressed with howgenerous and kind you are with
all of your knowledge and all ofyour sharing the curriculum.
Not only does it create abeautiful dancer, but it also
puts the health, mental andphysical well-being of the
(07:55):
dancer first, in my opinion.
How can dance studios allacross the world implement your
program and how can it benefitthem?
Speaker 3 (08:05):
I think we were incredibly lucky with Raymond
because when we start theproject, ABT asked a 20 of the
most important doctorphysiotherapist in America and I
love America in this waybecause all these people give us
our and our work for free.
It was a donation and I thinkthis is great.
(08:26):
But two, we work on the dancingside, but then this doctor,
this physiotherapist, just to besure, it was first physically
right it was not to push thestudent too much and then
mentally, because when you wantto be a beautiful dancer you
(08:47):
need to be also mentally with noproblem and happy with yourself
.
It's the only way I come fromthe old school when the teacher
want to push us down or anyway,because when I put you down I
can build you up, but it doesn'twork like this.
Speaker 1 (09:06):
It doesn't even work a little bit no.
Speaker 3 (09:10):
Maybe, maybe you know we are all different and also,
when you teach, you really needto pay attention to every single
student, because some studentsyou can scream at doesn't care,
some you need to be careful ofwhat you say.
We are all different, lucky.
Speaker 1 (09:27):
I think you're right.
How can it help to tear someonedown?
It can only help to build themup.
Speaker 3 (09:33):
Exactly, and the student love you forever.
Speaker 1 (09:37):
That's right and that's the most important thing.
Do you want to talk a littlebit about the curriculum and why
it's so good?
I mean, I know it's good, butmaybe tell everybody how it
works, or we was lucky in a waybecause Raymond and I we got
different backgrounds.
Speaker 3 (09:55):
Raymond was trained in America.
I was trained in Europe when myschool followed the Paris Opera
curriculum, when we work incompany and it was a beginning
in France and Belgium when itwas the Cuban panel, all the
Cuban came.
Then we got an exposure to theCuban method.
(10:16):
Then of course the Russian andin our period in Florence and
also in America, the luck,raymond and I, we met Alice
Panko.
She was the last student of agroup in Avaganova, in a way,
because it was after I learnedShiketi with Allah.
The two methods were exactly thesame.
(10:38):
It was only beautiful dancingand every school has something
very special to offer.
Then we try with Raymond to putin the curriculum what is best.
Example the curriculum.
The Italian used the relax coupde pied.
The French used the fullstretch coup de pied, front and
back.
(10:58):
The Russian do the rap.
But the Italian is excellentfor the coordination of the jump
when you do the frappe.
The coup de pied front and backis important, partly for the
girl.
When the girl are on point,because you use this bougette,
the rap could be shaped yourfoot beautifully.
Then why to do only one, whenwe are lucky to have a three,
(11:20):
and we try really to take whatwas the best of every single
school and I think that's why itworked.
Speaker 1 (11:27):
I think so too.
Speaker 3 (11:28):
And the feedback of most of the teacher was very
positive.
Speaker 1 (11:32):
So, speaking of the teachers, the teachers can put
their students up for exams, yes, and the teachers can also take
exams to be certified.
Speaker 3 (11:42):
Yes.
Speaker 1 (11:43):
And so how would somebody train their students?
What would they have to do totrain their students for an exam
?
Speaker 3 (11:50):
But when you are certified you know the
programmer and the differencebetween the ABT curriculum and
some of the other method.
We don't ever set exercise.
We just have a certain numberof steps you need to cover
during the year and you give alittle bit more freedom to the
(12:12):
teacher to arrive at what isrequired.
And then the teacher preparedthe class, the students drew the
bar both sides, the center.
Both sides depend from theprimary and level one is one
hour examination Because theclass needs to be prepared.
The students need to memorizethe class.
But when we arrive at levelseven, level six, level five is
(12:37):
two hour class.
We got students from Canada whowas doing an exam in another
method and were so happy to showyou a full class both sides.
Then some of the dancer wasfeeling it can see me better
than only one time and exercise.
I understand that very much andthe teacher is in the room with
(13:00):
us because he conduct the exam.
Then I think it's fabulousbecause I remember when I
present my student in Italy forthe check-in examination and I
was not in the room andsometimes when I saw the result
I was a little bit wow.
But then I realized somestudent react very well during
(13:23):
an exam and some not so well.
And it doesn't take away howbeautiful you are and maybe it
can help the student to havesome performance quality also to
do a class with performance.
It can help you when you do anaudition.
Speaker 1 (13:39):
This episode of the Dance Studio podcast is
sponsored by Body Dynamics, anexperienced team focused on the
many dimensions of your health,from injury prevention to
rehabilitation, management toperformance optimization.
Your physical, mental andemotional well-being is in good
hands at Body Dynamics.
(14:00):
Located in the Washington DCmetro region and offering
in-person and online services,body Dynamics aims to support
the whole performer.
Learn more about their services, including physical therapy,
dance fitness, nutrition,counseling, backstage triage and
more at BodyDynamicsInccom.
(14:24):
That's BodyDynamicsInccom.
Or find them at Body DynamicsInc on Facebook and Instagram.
See how Body Dynamics can helpyou dance better, faster,
stronger together.
What would you recommend to ayoung dancer today who's serious
(14:47):
about ballet and hoping topossibly become a professional?
What advice would you give them?
Speaker 3 (14:52):
Never give up.
Follow your dream, and I repeatthis every single class I teach
the best quality of the danceis determination.
I want to do it now, nottomorrow, I think really.
And then, of course, you havethe artistry, musicality,
(15:12):
everything you want.
But when you miss,determination is difficult.
Speaker 1 (15:17):
And you can't get that from anybody else.
It has to be inside of youExactly.
Speaker 3 (15:22):
You need to fight in a good way.
Your mother can't want it foryou, no, no.
Speaker 1 (15:27):
Exactly what would you hope that dance teachers are
conveying to their students allaround the world?
Speaker 3 (15:33):
We have a philosophy with Raymond because it's
beautiful to train aprofessional dancer, but because
I was so lucky in Italy, I ranmy private studio.
Then, with not the possibilityto show and audition my students
, I need to take everybody and Ithink it's very important to
(15:57):
train the professional one andalso the one don't have the
quality to become a balletdancer, because you train also
an audience and we need anaudience.
We saw with Raymond when we goback in Italy because we've got
the school for 14 years, some ofour students invite us, make
(16:17):
parti for us and say this wasthe best part of my life.
I was never a dancer, but wedid performance with you.
You was quite tough and veryprofessional.
Then we got an experience wenever forgot and I think this is
important.
It's not important to teachonly future professional dancer.
(16:40):
Everybody deserve the samequality of training.
Speaker 1 (16:46):
I got a call this morning from a parent and this
is a recurring call that I getfrom my students that leave me
and go on to the professionaltrack.
Around age 15, 16, therebecomes this overwhelm by the
student Too much training andthey're torn between living
their life or doing ballet.
(17:07):
Do you think that we areovertraining dancers at that age
, or too young of an agepossibly?
Or do you think it's justthat's kind of the separation
time where you know that youwant it and you have to go that
extra mile?
Speaker 3 (17:22):
I think we need to do a certain separation, but
working.
And now when we do the NTC forteacher, we have the lecturer of
Julie Dogarty and PeterMarshall, our two main
physiotherapists in the companythe two spoke so much about.
Yes, you want to be aprofessional dancer, you need to
do a certain number for our,but we need to keep the certain
(17:46):
amount of our and not too muchbecause you can burn yourself.
I remember when I joined theschool we work every single day
the 12 year old worker two tothree hours every day, but
Saturday and Sunday was off.
I pushed my student to dosummer program but to try to
have a mini-moment three weeksof during the summer, because
(18:10):
your body needs a moment of.
We need to make a healthybalance.
Speaker 1 (18:15):
I agree.
So do you do master classes?
Can people hire you to come totheir studio, their conference
and teach?
Yes, how do people follow youand get in touch with you?
Speaker 3 (18:26):
Some people was in touch with me with a messenger
because I'm in Facebook.
Some people, through ABT, senta message to ABT how can I be
contacted?
And now, because this pandemicwas bad but we learned a lot of
stuff.
Like during the pandemic, wedid a lot of masterclass in New
(18:47):
Zealand, in South Africa, inAustralia, hong Kong, because it
was a possibility, the studentwent in the studio, we was home,
and not to do a big travel wedid lately we was in Sweden to
do masterclass, we will go toItaly, but you'll also do them
(19:07):
on Zoom still.
Speaker 1 (19:08):
Yes, that's great.
Our studio uses Akeda softwareand we absolutely love it.
If you want to take control ofeverything, from employees to
parents, costume ordering toregistration, try Akeda today.
If you don't love it, theywon't charge you a thing.
Go to akedasoftwarecom, aka dasoftwarecom, to inquire about
(19:38):
your free trial today.
Okay, what teacher tip or trickcould you not live without that
you just keep in your backpocket and you use over and over
again when you're teaching.
Speaker 3 (19:50):
I think we became teacher and I hope because we
love.
I know it's a job, because allof us we need to have a job
because we need to live, but Ithink we are so lucky to do
something we love.
And when we remember that themoment we work in the studio and
also we all have problemsbecause life is not every day
(20:10):
easy but the moment we stepinside the studio we need to
forgot everything, it's greatfor the student but at the same
time it's great for us.
And when I give a lot ofpositive energy to my student,
when I teach, the student giveme back more than what I give.
Then you see the class going upand up and up is fabulous.
(20:31):
I was teaching when I was atthe ABT six hours every day.
Speaker 1 (20:35):
I finished the day and I feel okay because I've
seen you teach so many times andyou're such a fantastic,
fantastic teacher, because I dowhat I love.
That's so wonderful, and all ofyour students are so lucky to
have you.
Speaker 3 (20:51):
When I go and see the ABT website and the national
training curriculum and I seewhere we have teaching
everywhere in the world.
It's just something so, somagical and the people that
already examined that come backfor auditing.
It's incredible.
(21:13):
And during the pandemic thetwo-year pandemic lucky we was
in Florida.
We have a lot more space thanNew York, we have this huge room
.
But we did so many teachertraining programs on Zoom the
first year for the pre-primaryto three, we got 125 teachers
(21:33):
from everywhere in the world.
Speaker 1 (21:36):
So this podcast I started to just bring resources
and information to really likemy former self, my younger self,
my more intimidated self.
What would you say to a youngnew teacher who's kind of
feeling lacking in their ballettraining?
Speaker 3 (21:54):
We try to give the teacher a lot of tools,
particularly the new one, withno imposition, because everybody
can reach what you want indifferent way and with the same
like.
Sometimes I say, when we do theNTC, okay, I think maybe this
is a good way, but when you haveanother one, what is important
(22:16):
is the final product.
And because also, when you areyoung and I was young and I
remember I wrote all my class,every single class, was on paper
, with the counter, because itwas stressful and sometimes I
want to impress a little bit andmy class became too complicated
(22:36):
and then I realized slowly myclass getting simple and simple
and simple.
And I was teaching for AlvinEly one year and it was a day
with the student, was not reallycompletely there and I said,
come on, my class is so simpleand one of the girls say, Miss
Odevid, but it's so difficultbecause it's so simple, and I
(23:01):
say, wow, thank you, I love that.
But just to be there when youwalk in the studio, you need to
love your students, to be therefor your students.
I know I love and I think allthe teachers need to have a very
positive atmosphere in thestudio.
You need discipline, Absolutely.
(23:22):
But you need to say why youneed the discipline.
Not just because I want this, Aday I make the group do it was
a summer program the Grand Pliereight times because it was not
exactly what I asked.
And then I ask a girl youunderstand why?
(23:42):
She said no.
I say no, do it again.
And then I stop and I say I'mnot mean.
But I say you realize that youneed to pay attention to every
single detail the arms, the legs, the look, the focus, the
inclination of the head, theepaulom.
I say the day you will be luckyto join a company, you can look
(24:04):
on the legs, you be fired in aweek.
Suddenly the group completelychanged.
In the end of the classeverybody was around me.
Thank you so much, Thank you somuch.
Then everybody realized I wasmean.
Oh yeah, Eight times compliesmeaner.
But everybody understand why.
And when I got the class theweek after, everybody was paying
(24:27):
so much attention.
Speaker 1 (24:29):
Because they had a reason to.
They understood the reason to.
Speaker 3 (24:33):
We need to give a reason to everything, but why
not?
Speaker 1 (24:39):
That sounds very simply difficult to do eight
Grand Pliers but wonderful, agreat gift.
You are truly a great gift,franco, to your students and to
the world, and I reallyappreciate you doing this
podcast with us.
It's going to help so manypeople understand their students
(24:59):
themselves and hopefully accessthe training that's available
to them without intimidation orfear, because it's there to help
them improve all of theirclasses, and so I hope people
look into it.
I found it to be extremelybeneficial and so do my students
, so thank you so much for doingthis interview.
(25:21):
I really appreciate you.
Speaker 3 (25:22):
Thank you so much, sally.
First of all, fantastic to seeyou after a long time.
I hope we see each other soonerin person, but thank you so
much for inviting me.
It was a great, great pleasure.
Speaker 1 (25:35):
Thanks for listening and don't forget.
Please rate and review thisshow and share it with a friend.
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