July 14, 2023 • 28 mins
What does it truly take to step into the world of professional ballet? Join us as we unravel these complexities with Ava Dempster, a dedicated trainee at the prestigious Washington Ballet. Ava, one of my former pupils, guides us through the demanding realities of pre-professional ballet training. We delve into the rigors of the program, the pressures of being a trainee, and the artistry involved in choreography teaching. Ava gives us a peek into how ballet directors sculpt dancers with the finesse and technique they seek - a fusion of creativity, skill, and precision.
Transitioning from a close-knit dance studio to a professional one is no small feat. Ava reflects on her journey, highlighting the indispensable role of determination and a strong work ethic. Remember when you were 13? Imagine assessing your love for dance and preparing for a professional ballet career. Ava emphasizes the importance of adaptability in dance and shares her experiences with tools like the Got it Bar that have made her journey smoother.
We also get a sneak peek into Ava's daily life - a whirlwind of classes, rehearsals, body care, nutrition, and much-needed rest. For those dancers without financial backing, we touch upon scholarships and sponsorships, while highlighting the significance of a professional social media presence. As we wrap up, Ava shares her future aspirations, underlining the importance of self-advocacy and giving some invaluable advice to our listeners aspiring to make their mark in the world of ballet. Ava's journey is a testament to the power of passion and perseverance, offering a fascinating glimpse into the world of professional ballet.
Original music and audio production provided by Jarrett Nicolay at Mixtape Studios. www.mynewmixtape.com
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome Dance Studio owners and dance teachers Today.
We are thrilled to have AvaDempster, a trainee at
Washington Ballet, in the studiowith us today.
Welcome, ava Hi.
Thanks for having me.
I'm so glad you're here.
Ava's also an old student ofmine.
What I understand is you're inthe pre-professional program at
(00:22):
Washington Ballet.
Can you tell us exactly whatthat is?
Speaker 2 (00:27):
So the pre-professional training
division is what we call itthere at Washington Ballet, the
PTD program.
We have classes.
It's pretty strenuous training.
Speaker 1 (00:39):
So what does that mean?
Pre-professional program?
How did you get in it and whatis the goal?
Speaker 2 (00:45):
Being in this program is the steps we take before we
enter professional life as atrainee.
It's one step below the studiocompany.
Speaker 1 (00:55):
How young can you be to be accepted into the
pre-professional program?
Speaker 2 (00:59):
I would say the average age is 16 years old.
Speaker 1 (01:05):
The whole purpose is to prepare you for a possible
professional ballet career.
Speaker 2 (01:12):
Yes, this program gives you a lot of very
essential training.
It is the most important yearsof your life before you step
into the professional world.
It is where you grow, I think,the most as an artist, before
you enter dancing professionally.
Speaker 1 (01:29):
And how old are you?
Speaker 2 (01:31):
I am 18.
This will be my third year inthe PTD program, but my first
officially as a trainee.
Speaker 1 (01:39):
So it's possible to be in the pre-professional
program and not be a trainee.
So tell us what the differenceis.
Speaker 2 (01:45):
There are three levels at Washington Ballet.
You have PTPB, ptpa and thentrainee.
So I did one year as a PTPB,which is the lowest level in the
program.
Speaker 1 (01:58):
And how old were you when you did that?
Speaker 2 (02:00):
I was 15.
Speaker 1 (02:02):
Okay.
Speaker 2 (02:03):
And then I did my first year as a PTPA and then
COVID happened, so I did anotheryear online in that level and
then this past year, the2021-2022 season I was a trainee
and being a trainee it's apretty big deal.
Speaker 1 (02:25):
Is it a big deal in a great way, or is it fun?
Is it difficult, is it both?
Speaker 2 (02:31):
I think there is a lot of expectations and I think
that adds a lot of pressure.
Speaker 1 (02:37):
What kind of pressures do you feel most?
Speaker 2 (02:40):
Just because we're working super closely with the
company and it's kind of like weare the step below getting to
that level.
Speaker 1 (02:49):
You're dancing with them?
Are you taking class with them?
Speaker 2 (02:52):
Yes, we take classes every Wednesday.
It is such a small company thatthe trainees get the great
opportunity to work very closewith the trainees.
Speaker 1 (03:03):
Are you?
Speaker 2 (03:03):
understudies yes, we do a lot of quarter ballet work
and some trainees get asked todo soloist roles.
Speaker 1 (03:13):
As understudies.
Speaker 2 (03:14):
Understudies, but some of us do get casted to work
with them.
Yeah, you were.
Speaker 1 (03:19):
Clara and Nutcracker.
Yes, that was exciting.
Speaker 2 (03:23):
Oh, very much so.
In the Nutcracker at WashBallet, Clara is a very big
accomplishment.
Speaker 1 (03:28):
Absolutely.
Speaker 2 (03:29):
In addition to Clara, I was a swan in the quarter
ballet in the production of SwanLake, and then in this past May
we had a production of Giselle,and I was a village woman and I
understudied for Giselle'sFriends, which is a soloist role
(03:51):
, and then I was also a willy inthe second act.
It was just pretty surreal.
Yeah, and as my first year as atrainee getting to be in these
ballets, that's a pretty bigdeal.
Speaker 1 (04:04):
How many trainees do they have?
This year 15 boys and girls intotal Is it like half boys, half
girls.
Speaker 2 (04:12):
I'd say two-thirds girls.
Speaker 1 (04:13):
And then how many people are in the company 30.
It's very interesting how manypeople want to be a professional
ballerina when they starttaking their ballet lessons and
how small the opportunitiesbecome as you get older and
closer to the actual jobs.
Speaker 2 (04:32):
Oh yeah, this world is pretty cutthroat.
Speaker 1 (04:35):
What would you say?
The average age is of thecompany members.
Speaker 2 (04:39):
The studio company.
I would say the age rangesaround 20 to 24.
Speaker 1 (04:47):
So it's not normal to become a company member until
you're like early 20s, not it's18, 19 is not the norm.
Yeah, the norm would be aroundearly 20s, but it happens that
younger dancers yeah, so you're18, you're a trainee.
You've had all theseunbelievable opportunities to
(05:09):
perform with the company onstage in really big roles.
Really for a trainee.
Speaker 2 (05:16):
Really big roles, yes , for my age and also as a first
year trainee, and I'm verygrateful to have been asked to
learn all of these roles, evenif it's just understanding, just
showing up, putting in thatwork, putting in that effort to
be there and to learn and graspeverything, absorb what's being
thrown at me.
Speaker 1 (05:36):
Yes, experience.
So who does the teaching of thechoreography to you?
Speaker 2 (05:43):
So for this school, I know that our performances are
led by Xiamar Reyes and RenatAmayev For the company.
Julie Kent is our artisticdirector.
Victor Barbie is part of theartistic faculty.
Speaker 1 (05:59):
Talk to me about how they talk to you, about what
they want you to look like andhow you can improve certain
pieces.
Speaker 2 (06:06):
I would say they've molded me into the dancer that
they want.
As for technique and style,it's pretty Vaganava, R-A-D type
of modernized style oftechnique.
Speaker 1 (06:19):
What are they talking to you about?
Are they talking to you aboutthe way that you look at the
audience, how to use your arms?
So it's very visual learning.
Speaker 2 (06:28):
It's how do they use their port-a-bra?
Where's their head looking atthis certain direction?
Like all, these little detailsare really important when you
are learning from differentchoreographers.
You don't want everyone to lookthe same, but how can you make
it special in your own way whiledoing the choreography or
matching the other dancers,channeling that feeling and that
(06:50):
sureness and confidence?
Absolutely that alreadyradiates into a presence that
will make you stand out.
Speaker 1 (07:01):
Yeah, when you get comfortable and confident within
yourself, people are drawn toyou.
Speaker 2 (07:07):
For sure, and I think this past year reaching this
level of training has helped meunderstand and grasp what
confidence means on stage.
Speaker 1 (07:19):
Bringing that joy to your audience right.
Speaker 2 (07:21):
Yeah, that's also part of the job being an artist.
We're not supposed to make thework look hard.
We're supposed to make it lookfun and effortless, very freeing
, very enjoyable, and that'swhat the audience pays to see.
You know, they want to see adancer that makes them feel
something.
Speaker 1 (07:36):
That's funny.
I can never completely relax atthe ballet.
How about you when you're inthe audience?
Speaker 2 (07:41):
Some well as a dancer myself.
I mean, I am a little bit onedge and I'm always just super
like a hawk, like very hyperfocused on like oh, are they on
their box fully.
Speaker 1 (07:52):
Me too.
Speaker 2 (07:53):
How is that line looking Like?
Looking at it from?
Speaker 1 (07:56):
a dancer perspective.
Yeah, kind of funny.
Let's talk about the differencebetween a dance studio dancer
and a trainee for a professionalcompany.
So you dance with me?
Were you eight when you came tomy studio?
Eight and a half Eight, and ahalf.
So when you were eight and ahalf, you know you come to my
(08:18):
studio.
It's like ballet, tap, jazz andthe schedule.
When you were about 12, 13, youwere probably taking two
shiketi classes hour and a halfballet class, an hour jazz class
, an hour tap class, an hourpoint class and you were
probably my assistant for someclasses.
That's a lot of dance butthat's nothing compared to the
(08:42):
dance that you're doing as apre-professional trainee.
Speaker 2 (08:45):
Yes, the intensity of the training that we receive is
way different from.
Speaker 1 (08:51):
So that's what I wanna hear about, like how
different and how is itdifferent.
Speaker 2 (08:56):
A typical schedule would look like an hour and a
half hour 45 technique class andthen we would have a point
class afterwards, so you startin the morning with a technique
class.
Speaker 1 (09:09):
what time?
Speaker 2 (09:09):
9.30 usually.
Speaker 1 (09:11):
Okay.
So then you start with like anhour and 45 minute technique
class and you're saying you'renot wearing your point shoes
during that class.
Speaker 2 (09:18):
No, some people do like to put on point shoes
during the center.
Speaker 1 (09:23):
And then how long are the point classes?
Speaker 2 (09:25):
Usually an hour of point, and that would probably
happen four times a week.
Speaker 1 (09:32):
And then what you do?
You learn choreography in theafternoons.
Speaker 2 (09:36):
Yes, we have a lot of rehearsals for the repertoire
that we're learning, either withthe company or for our
showcases.
Speaker 1 (09:44):
So how many performances does the company
have per year?
Speaker 2 (09:48):
Usually they do two main productions.
Speaker 1 (09:52):
And what did you just finish?
Speaker 2 (09:53):
Ah yes, this was a student choreography showcase.
Speaker 1 (09:58):
Oh yeah.
Speaker 2 (09:58):
So I was asked to make a piece, and that was the
first time experience for me.
I have never choreographed apiece before.
It was a experience of whatit's like to be on the other
side of the room.
I'm used to the dancerperspective.
Speaker 1 (10:16):
So that was your first time choreographing and
you got a good response from it,I'm sure.
Oh, a lovely response.
Well, it's wonderful to like it, because we all know that
ballet dancers don't have thelongest career, because our
bodies are prime at a certaintime.
(10:37):
But to be able to enjoy anotherpart of the same art form and
stay in the same field in adifferent way.
Speaker 2 (10:46):
There's endless possibilities in what you can do
.
Speaker 1 (10:49):
This episode is brought to you by Mix Tape
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What was the best thing aboutyour dance studio training at
(11:10):
our studio and what was lackingthat you wish?
Gosh, I wish I had more of this.
Speaker 2 (11:16):
I think I gained a lot of confidence from your
studio, but then going toanother school where the talent
has been raised it's under morepressure I feel like my
confidence was a little bitlacking.
Speaker 1 (11:29):
That's interesting because you were a super dancer
at our studio and you seemedvery happy and everything's
great.
And then you went to a bigger.
You were a big fish in a littlepond.
Then you went to the big dealin DC.
Speaker 2 (11:43):
Small fish in a big pond.
Speaker 1 (11:45):
How, then, that kind of rocked your world, a little
bit like, uh-oh, there's a lotof talented people out here, is
that how you felt?
Got a little shaken.
Speaker 2 (11:54):
I think I went into it with confidence, but then my
perspective kind of shifted alittle bit.
Speaker 1 (12:01):
As you got closer to the professional goals, because
I see-.
Speaker 2 (12:06):
Because reality comes in you know, and it's the whole
world out there, that once youleave such a small, tight-knit
community and you go to anotherplace, I mean it doesn't even
have to be at Washington Valley,it can be anywhere else.
It's just kind of like whoa.
Speaker 1 (12:22):
I've seen it so many times with our students.
We always produce really strong, beautiful dancers and then
they go and as they get closerand closer like 16, a lot of
them want to quit, and I don'thave any problems with them
quitting.
I think that that's a verynatural reaction to the real
(12:44):
world of ballet.
I hate that they actually quitand stop dancing.
What I wish would happen isthat they would say you know
what, maybe my 12-year-old dreamof me becoming a professional
ballerina isn't actuallypossible, but I still love
ballet and maybe I just want todo it two days a week and look
(13:05):
at how I can do it differently.
And I always worry because atour studio we have the ballet
and the tap and the jazz andthen when you guys leave and you
go over to Washington School ofBallet or Ballet Nova, it's all
ballet all the time and I'm soconcerned that you'll be burnt
out on ballet.
Does the joy kind of get suckedout of you as you get older?
(13:25):
I have no idea, because Ididn't do this myself.
Speaker 2 (13:28):
I'd say I wish we had more of a variety, just because
I've been used to that growingup.
Speaker 1 (13:33):
So what do you think helped you in our studio to
prepare to go into the biggerworld of ballet?
What do you think you got fromus and maybe other people don't
have it- Honestly like thisfeeling of like internal
sureness.
Speaker 2 (13:49):
There was this thing that we had at your studio
called the Got it Bar, and Iremember that so vividly.
It's like learning how to pickup combinations fast.
I know that there's people thatdon't really have a very strong
work ethic and it's just kindof like unfortunate to see
because from what I've learnedfrom you strong work ethic,
(14:11):
determination I feel like a lotof people didn't get that
opportunity.
Speaker 1 (14:16):
My goal is to empower my dancers.
Speaker 2 (14:18):
Oh, I definitely got that for sure, good, good.
Speaker 1 (14:21):
So, now that you know more and you've been there,
what would you give Ava?
A 10 that you didn't get?
Speaker 2 (14:29):
I would say being very open-minded and
experimental with my work.
Speaker 1 (14:34):
That's so funny because I would never allow it.
It's always this or this, thisis my way, or the highway right,
yeah, so that's really reallyinteresting and of course,
you're right, keep talking aboutthat to be more open and free
and experimental.
Speaker 2 (14:53):
And just because I've had people tell me the past,
it's good to have an open mindin the studio and not just think
of one thing as one way,because in reality it's not that
.
You're going to go places andyou're going to meet new people
that are different from you andthat are going to have different
approaches to the work.
Speaker 1 (15:09):
I always say to my dancers that this is what I want
and you must do what I want,because I'm the teacher in front
of you.
But you will be with otherpeople and you will have to do
exactly what they want.
You don't just get to say, well, I like to do it this way
better.
Speaker 2 (15:28):
When somebody's asking you to do something,
that's a very strong asset tohave in a dancer someone that
can adapt to different types ofworks and styles.
Speaker 1 (15:39):
I've talked about this on other podcasts.
Our studio is three to 13 yearolds and at first everybody was
sad when I decided that everyonewas going to have to graduate
from us at 13 and I struggledwith it myself.
But over the years I've justrealized how much better it is
(15:59):
for my students to get a reallystrong foundation when you're
young and then to let thebutterfly go and get several
different teachers andexperiences and every student.
You went the ballet route,other people have gone the
theater route, some people gothe dance team route.
(16:21):
People at 13 really are oldenough to assess how much they
like dance, what parts of itthey like, how they should move
on with it or not, and itorganically became this thing
that I think is really betterfor the students than me keeping
them from three to 18.
(16:42):
Like that would not be servingthe students in the best
possible way.
Speaker 2 (16:46):
For sure.
Speaker 1 (16:47):
And then you said you know flexible, more freedom,
even in tap.
I never do improv and I knowthat you're supposed to do
improv in tap and I hate improvpersonally.
That's so funny.
I hate improv.
I kind of feel like you'recoming to me to learn from me.
Go home and do improv.
(17:08):
But forcing people to do improvin front of other people is a
really good skill and I just I'mlimited in it and so I don't
give it to my students.
Speaker 2 (17:20):
That's something that we actually learned at Wash
Ballet.
In contemporary class we do alot of improv and that's
something that I feel like I'mmore comfortable in now.
I think before I used to bevery unsure of what improv
really meant.
I didn't really know how tolike express myself, but now I
would say it's one of mystrongest assets.
(17:42):
It comes very naturally to menow.
Speaker 1 (17:45):
And you like it.
Speaker 2 (17:46):
I do like it.
I think it allows me toexperiment a lot and see what I
can do.
You know, just creating withyour body in ways that you've
never known how to do before.
It's just incredible.
Speaker 1 (17:57):
How many teachers a week do you have now in your
training program?
Speaker 2 (18:01):
I'd say about six, seven.
Speaker 1 (18:03):
Six or seven different teachers every single
week.
How do you, as a student,respond to all these different
personalities?
Speaker 2 (18:13):
Just learning how to adapt to one teacher and then
knowing that this teacher worksdifferently.
Speaker 1 (18:20):
I bet there are common threads that all of the
best teachers have.
What do the really greatteachers all have in common?
Speaker 2 (18:28):
How they run a class how they can properly warm up a
dancer and make them ready fortheir day.
At the end of the day, everysingle teacher that I've had, I
always feel warm.
I always feel ready for my day,no matter like if their plie
combinations are different or iftheir tendus or their center
work is different.
I always feel like my body iswarm and prepared for what's to
(18:53):
come in that day.
And if you're not properlywarmed up, that's not good.
Speaker 1 (18:57):
If you advertised here, you'd be hearing your ad
right now.
For more information onadvertising on this podcast,
email SallyBallet at hotmailcomor call 703-981-0718.
Talk to me about what your dayconsists of.
Speaker 2 (19:18):
This past year, my experience was waking up and
getting ready for classes,taking a five minute walk to the
main building at the WashingtonBallet or the other location,
and then I would start my dayeither at 9.30, 11, depending on
what time we started.
Speaker 1 (19:35):
And then, what time does it end, what time does your
day end?
Speaker 2 (19:38):
Mid-afternoon, I'd say around like 4 or 5.
But then if we had longerrehearsals I could extend until
8.00, or if we didn't haverehearsals that day, we could be
done at 2.00.
It really just varies.
And then after my day I wouldgo home, eat and maybe hang out
with a few friends or two and goto sleep and then the day
(20:00):
starts again.
It's that simple.
Speaker 1 (20:05):
Yeah, your life is extremely structured, but you
have to have parents that arewilling to buy you an apartment
and pay for all your food andpay for the pre-professional
training program.
It's all very expensive andthere might be people that can
dance the way you can dance, butmaybe not have the parents that
(20:27):
can pay that, and I wasthinking that's where
scholarships come in, so I knowI wonder if a person like, let's
say, you didn't have theparents that could pay, right,
but you'd kind of put yourselfout there.
Speaker 2 (20:40):
How do you put yourself out?
Speaker 1 (20:41):
First of all, give us all your social media so people
can follow you, and then we'lltalk about this.
Speaker 2 (20:45):
Social media.
I usually just use Instagram.
At DemsterAva,D-E-M-P-S-T-E-R-A-V-A.
Speaker 1 (20:55):
And you can follow you there.
So, because you have a presencealready, maybe you could go to
a local business in DCa bigbusiness and say hey, I'm this
dancer, I have an opportunity.
Here's my Instagram.
Do you want to be my sponsor?
Has anyone done that?
Speaker 2 (21:15):
Ask for sponsors?
No, but I know that some peopleare in connections with donors
or are in scholarship.
Speaker 1 (21:21):
I'd like to see if you could get a sponsor.
Speaker 2 (21:24):
Me too.
Speaker 1 (21:25):
I would love that, I wonder if that would pave the
way for others.
They can support the artists,at the same time supporting
their business.
So I'm curious, this rigorous,rigorous schedule, how does the
Washington School of Ballet takecare of their dancers?
Speaker 2 (21:44):
They stress on this a lot at Washington Ballet If you
have an injury, please reportit to your teachers.
They don't want any dancerdancing on an injury.
That is the most importantthing, because a lot of dancers
like to push their abilities,like, oh, it's just an ache, I'm
fine, I'm fine and just push itoff.
But in reality it could lead tosomething worse and if you just
(22:07):
stopped dancing that day, youcould have saved yourself from a
lot of future pain or causedthis injury to go on more.
Speaker 1 (22:16):
I hope people are hearing that.
Dancers are hearing thatbecause we are, we're strong and
we pride ourselves on beingstrong.
Speaker 2 (22:22):
And we have a high pain tolerance, high pain
tolerance.
Speaker 1 (22:26):
So many doctors have said to me you have an extremely
high pain tolerance, Likeneedles like yeah.
But real strength is in knowinghow to really take care of
yourself, and so there's a realbalance between just pushing
through any kind of pain andunderstanding when pain can be
(22:48):
pushed through and when painshould not be pushed through.
Speaker 2 (22:51):
Your body is your temple.
Your body is what you work with.
Speaker 1 (22:54):
You know it's the facility that you have, we might
be less inclined to say thatwe're injured, because we kind
of think everyone's going tothink we're just a baby.
So we do need to be very, verycareful about thinking.
We know what's in anotherperson's body and let them
(23:15):
decide and just focus onourselves.
If you've been dancing as muchas you've been dancing, you
certainly know the differencebetween good pain and bad pain.
You just do.
How about nutrition and rest?
Like, how do they?
Speaker 2 (23:29):
We've had a few nutrition seminars this past
year.
Obviously they say drink a lotof water, electrolytes,
important carbs for energy,protein for the muscle
regeneration.
Speaker 1 (23:41):
I mean they have to be aware that they're eating
disorders and that they wanttheir dancers to be strong, lean
ready to dance.
Speaker 2 (23:52):
And if the teachers notice anything going on with
their dancers, like physically,they would say something or just
check in with them.
Speaker 1 (23:59):
Because at American Ballet Theater they are not
allowed to, and I think that's areally interesting thing, and I
didn't know that, yeah.
They're not allowed to speak tothe dancer about underweight,
overweight, nothing that theysee.
The only people that areallowed to talk to the dancer
are the doctor.
How do you feel about that.
Speaker 2 (24:18):
At Washington Ballet there's a lot of student-teacher
personal connections so I feellike there's that trust that you
can have within the teachers totalk about things.
It's a comfortable environmentto do that.
Speaker 1 (24:29):
I just hope that they're promoting healthy foods
for dancers.
Speaker 2 (24:33):
They are For sure.
Speaker 1 (24:34):
Good.
In the old days, you know, itwas like starve yourself, smoke
some cigarettes and get back outhere.
Speaker 2 (24:40):
Yeah, I mean that's basically the message To keep
the lean looks so you wouldn'tfeel full.
Oh my goodness, yeah I mean you, yeah.
Speaker 1 (24:48):
so I'm hoping that you guys are getting really good
messages about taking care ofyourselves, yeah there's a lot
of love and care.
That's good.
Do they recommend a certainamount of sleep?
Eight hours.
Yeah, I mean, they tell youlike we want you to be sleeping.
Speaker 2 (25:04):
Yeah.
Speaker 1 (25:04):
Good, all right.
So how does somebody that worksas hard as you, work in an
intense program, how do youspend like relaxation time?
How do you have fun?
Speaker 2 (25:14):
I like to meditate a lot.
Well wait, I heard relaxation,so I honestly just like
meditation.
Speaker 1 (25:21):
I mean, maybe it is fun for you, but I find it super
calming.
Speaker 2 (25:27):
Like five to ten minutes before my day starts I
would meditate and it doeswonders.
Speaker 1 (25:33):
I know that that's true and I believe it strongly.
It just I was expecting likesomething a little bit more like
fun, fun fun.
Do you have a small group offriends, a large group of
friends, a boyfriend?
Do you go to the movies?
Speaker 2 (25:49):
Do you?
Speaker 1 (25:49):
walk around and go out to eat.
Like, what do you do?
Speaker 2 (25:53):
Yeah, on our weekends I like to go out.
Georgetown is a very local hotspot with all shops and all the
fun things to do with yourfriends.
You know I have a lot offriends outside of the ballet
but I spend most of my time withballet people.
Speaker 1 (26:11):
You have a huge smile on your face, so you must be
having a wonderful time withthem.
So what are your next steps?
No pun intended.
Are you thinking, just takethis next year as a trainee and
just throw yourself into it?
Are you kind of looking around?
You got your eyes on otheroptions.
Speaker 2 (26:30):
I did apply for the studio company at Washington
Ballet and, depending on thatoutcome, that will help me
decide where I'm going to go inthese next few months.
As for future plans, I do wantto come back to Washington
Ballet.
I feel like I really want todance there professionally.
I have very high interests.
Usually trainees do like twoyears before they get promoted,
(26:56):
either with the same company orsomewhere else.
But you know, it doesn't hurtto have high hopes, it doesn't
hurt to be ambitious and wantmore for yourself.
If you don't say what you wantand you don't stand up for
yourself, they will never knowand then it's just a lost
opportunity.
Speaker 1 (27:12):
Another life lesson.
I've been talking to someonevery close to me at their job.
You know I'm like, if you don'ttell people what you want,
nobody knows.
Nobody goes home every day andthinks about so-and-so.
When they're home they'rethinking about themselves and
their careers and if you don'tkind of be a little bit of a
squeaky wheel not a superannoying squeaky wheel, but a
(27:35):
little bit like hey guys, thisis what I like, this is what I
want Then it puts the bug intheir ear and then they can
decide.
Nobody will ever do it for youand you got to learn how to do
it for yourself early and always, and there's a way to do it
that is not at all obnoxious.
Is there anything you want toadd that we didn't talk about
(27:57):
that you think people would beinterested in or should know?
Speaker 2 (28:00):
Share your passion and your love for dance with
people.
Speaker 1 (28:06):
Ava, I'm so happy you were here and talked with us
today.
Thank you so so much.
Speaker 2 (28:12):
Thank you for having me.
I think this was great.
Welcome Dance Studio owners and dance teachers Today.
We are thrilled to have AvaDempster, a trainee at
Washington Ballet, in the studiowith us today.
Welcome, ava Hi.
Thanks for having me.
I'm so glad you're here.
Ava's also an old student ofmine.
What I understand is you're inthe pre-professional program at
(00:22):
Washington Ballet.
Can you tell us exactly whatthat is?
Speaker 2 (00:27):
So the pre-professional training
division is what we call itthere at Washington Ballet, the
PTD program.
We have classes.
It's pretty strenuous training.
Speaker 1 (00:39):
So what does that mean?
Pre-professional program?
How did you get in it and whatis the goal?
Speaker 2 (00:45):
Being in this program is the steps we take before we
enter professional life as atrainee.
It's one step below the studiocompany.
Speaker 1 (00:55):
How young can you be to be accepted into the
pre-professional program?
Speaker 2 (00:59):
I would say the average age is 16 years old.
Speaker 1 (01:05):
The whole purpose is to prepare you for a possible
professional ballet career.
Speaker 2 (01:12):
Yes, this program gives you a lot of very
essential training.
It is the most important yearsof your life before you step
into the professional world.
It is where you grow, I think,the most as an artist, before
you enter dancing professionally.
Speaker 1 (01:29):
And how old are you?
Speaker 2 (01:31):
I am 18.
This will be my third year inthe PTD program, but my first
officially as a trainee.
Speaker 1 (01:39):
So it's possible to be in the pre-professional
program and not be a trainee.
So tell us what the differenceis.
Speaker 2 (01:45):
There are three levels at Washington Ballet.
You have PTPB, ptpa and thentrainee.
So I did one year as a PTPB,which is the lowest level in the
program.
Speaker 1 (01:58):
And how old were you when you did that?
Speaker 2 (02:00):
I was 15.
Speaker 1 (02:02):
Okay.
Speaker 2 (02:03):
And then I did my first year as a PTPA and then
COVID happened, so I did anotheryear online in that level and
then this past year, the2021-2022 season I was a trainee
and being a trainee it's apretty big deal.
Speaker 1 (02:25):
Is it a big deal in a great way, or is it fun?
Is it difficult, is it both?
Speaker 2 (02:31):
I think there is a lot of expectations and I think
that adds a lot of pressure.
Speaker 1 (02:37):
What kind of pressures do you feel most?
Speaker 2 (02:40):
Just because we're working super closely with the
company and it's kind of like weare the step below getting to
that level.
Speaker 1 (02:49):
You're dancing with them?
Are you taking class with them?
Speaker 2 (02:52):
Yes, we take classes every Wednesday.
It is such a small company thatthe trainees get the great
opportunity to work very closewith the trainees.
Speaker 1 (03:03):
Are you?
Speaker 2 (03:03):
understudies yes, we do a lot of quarter ballet work
and some trainees get asked todo soloist roles.
Speaker 1 (03:13):
As understudies.
Speaker 2 (03:14):
Understudies, but some of us do get casted to work
with them.
Yeah, you were.
Speaker 1 (03:19):
Clara and Nutcracker.
Yes, that was exciting.
Speaker 2 (03:23):
Oh, very much so.
In the Nutcracker at WashBallet, Clara is a very big
accomplishment.
Speaker 1 (03:28):
Absolutely.
Speaker 2 (03:29):
In addition to Clara, I was a swan in the quarter
ballet in the production of SwanLake, and then in this past May
we had a production of Giselle,and I was a village woman and I
understudied for Giselle'sFriends, which is a soloist role
(03:51):
, and then I was also a willy inthe second act.
It was just pretty surreal.
Yeah, and as my first year as atrainee getting to be in these
ballets, that's a pretty bigdeal.
Speaker 1 (04:04):
How many trainees do they have?
This year 15 boys and girls intotal Is it like half boys, half
girls.
Speaker 2 (04:12):
I'd say two-thirds girls.
Speaker 1 (04:13):
And then how many people are in the company 30.
It's very interesting how manypeople want to be a professional
ballerina when they starttaking their ballet lessons and
how small the opportunitiesbecome as you get older and
closer to the actual jobs.
Speaker 2 (04:32):
Oh yeah, this world is pretty cutthroat.
Speaker 1 (04:35):
What would you say?
The average age is of thecompany members.
Speaker 2 (04:39):
The studio company.
I would say the age rangesaround 20 to 24.
Speaker 1 (04:47):
So it's not normal to become a company member until
you're like early 20s, not it's18, 19 is not the norm.
Yeah, the norm would be aroundearly 20s, but it happens that
younger dancers yeah, so you're18, you're a trainee.
You've had all theseunbelievable opportunities to
(05:09):
perform with the company onstage in really big roles.
Really for a trainee.
Speaker 2 (05:16):
Really big roles, yes , for my age and also as a first
year trainee, and I'm verygrateful to have been asked to
learn all of these roles, evenif it's just understanding, just
showing up, putting in thatwork, putting in that effort to
be there and to learn and graspeverything, absorb what's being
thrown at me.
Speaker 1 (05:36):
Yes, experience.
So who does the teaching of thechoreography to you?
Speaker 2 (05:43):
So for this school, I know that our performances are
led by Xiamar Reyes and RenatAmayev For the company.
Julie Kent is our artisticdirector.
Victor Barbie is part of theartistic faculty.
Speaker 1 (05:59):
Talk to me about how they talk to you, about what
they want you to look like andhow you can improve certain
pieces.
Speaker 2 (06:06):
I would say they've molded me into the dancer that
they want.
As for technique and style,it's pretty Vaganava, R-A-D type
of modernized style oftechnique.
Speaker 1 (06:19):
What are they talking to you about?
Are they talking to you aboutthe way that you look at the
audience, how to use your arms?
So it's very visual learning.
Speaker 2 (06:28):
It's how do they use their port-a-bra?
Where's their head looking atthis certain direction?
Like all, these little detailsare really important when you
are learning from differentchoreographers.
You don't want everyone to lookthe same, but how can you make
it special in your own way whiledoing the choreography or
matching the other dancers,channeling that feeling and that
(06:50):
sureness and confidence?
Absolutely that alreadyradiates into a presence that
will make you stand out.
Speaker 1 (07:01):
Yeah, when you get comfortable and confident within
yourself, people are drawn toyou.
Speaker 2 (07:07):
For sure, and I think this past year reaching this
level of training has helped meunderstand and grasp what
confidence means on stage.
Speaker 1 (07:19):
Bringing that joy to your audience right.
Speaker 2 (07:21):
Yeah, that's also part of the job being an artist.
We're not supposed to make thework look hard.
We're supposed to make it lookfun and effortless, very freeing
, very enjoyable, and that'swhat the audience pays to see.
You know, they want to see adancer that makes them feel
something.
Speaker 1 (07:36):
That's funny.
I can never completely relax atthe ballet.
How about you when you're inthe audience?
Speaker 2 (07:41):
Some well as a dancer myself.
I mean, I am a little bit onedge and I'm always just super
like a hawk, like very hyperfocused on like oh, are they on
their box fully.
Speaker 1 (07:52):
Me too.
Speaker 2 (07:53):
How is that line looking Like?
Looking at it from?
Speaker 1 (07:56):
a dancer perspective.
Yeah, kind of funny.
Let's talk about the differencebetween a dance studio dancer
and a trainee for a professionalcompany.
So you dance with me?
Were you eight when you came tomy studio?
Eight and a half Eight, and ahalf.
So when you were eight and ahalf, you know you come to my
(08:18):
studio.
It's like ballet, tap, jazz andthe schedule.
When you were about 12, 13, youwere probably taking two
shiketi classes hour and a halfballet class, an hour jazz class
, an hour tap class, an hourpoint class and you were
probably my assistant for someclasses.
That's a lot of dance butthat's nothing compared to the
(08:42):
dance that you're doing as apre-professional trainee.
Speaker 2 (08:45):
Yes, the intensity of the training that we receive is
way different from.
Speaker 1 (08:51):
So that's what I wanna hear about, like how
different and how is itdifferent.
Speaker 2 (08:56):
A typical schedule would look like an hour and a
half hour 45 technique class andthen we would have a point
class afterwards, so you startin the morning with a technique
class.
Speaker 1 (09:09):
what time?
Speaker 2 (09:09):
9.30 usually.
Speaker 1 (09:11):
Okay.
So then you start with like anhour and 45 minute technique
class and you're saying you'renot wearing your point shoes
during that class.
Speaker 2 (09:18):
No, some people do like to put on point shoes
during the center.
Speaker 1 (09:23):
And then how long are the point classes?
Speaker 2 (09:25):
Usually an hour of point, and that would probably
happen four times a week.
Speaker 1 (09:32):
And then what you do?
You learn choreography in theafternoons.
Speaker 2 (09:36):
Yes, we have a lot of rehearsals for the repertoire
that we're learning, either withthe company or for our
showcases.
Speaker 1 (09:44):
So how many performances does the company
have per year?
Speaker 2 (09:48):
Usually they do two main productions.
Speaker 1 (09:52):
And what did you just finish?
Speaker 2 (09:53):
Ah yes, this was a student choreography showcase.
Speaker 1 (09:58):
Oh yeah.
Speaker 2 (09:58):
So I was asked to make a piece, and that was the
first time experience for me.
I have never choreographed apiece before.
It was a experience of whatit's like to be on the other
side of the room.
I'm used to the dancerperspective.
Speaker 1 (10:16):
So that was your first time choreographing and
you got a good response from it,I'm sure.
Oh, a lovely response.
Well, it's wonderful to like it, because we all know that
ballet dancers don't have thelongest career, because our
bodies are prime at a certaintime.
(10:37):
But to be able to enjoy anotherpart of the same art form and
stay in the same field in adifferent way.
Speaker 2 (10:46):
There's endless possibilities in what you can do
.
Speaker 1 (10:49):
This episode is brought to you by Mix Tape
Studios, a full servicerecording studio online at
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What was the best thing aboutyour dance studio training at
(11:10):
our studio and what was lackingthat you wish?
Gosh, I wish I had more of this.
Speaker 2 (11:16):
I think I gained a lot of confidence from your
studio, but then going toanother school where the talent
has been raised it's under morepressure I feel like my
confidence was a little bitlacking.
Speaker 1 (11:29):
That's interesting because you were a super dancer
at our studio and you seemedvery happy and everything's
great.
And then you went to a bigger.
You were a big fish in a littlepond.
Then you went to the big dealin DC.
Speaker 2 (11:43):
Small fish in a big pond.
Speaker 1 (11:45):
How, then, that kind of rocked your world, a little
bit like, uh-oh, there's a lotof talented people out here, is
that how you felt?
Got a little shaken.
Speaker 2 (11:54):
I think I went into it with confidence, but then my
perspective kind of shifted alittle bit.
Speaker 1 (12:01):
As you got closer to the professional goals, because
I see-.
Speaker 2 (12:06):
Because reality comes in you know, and it's the whole
world out there, that once youleave such a small, tight-knit
community and you go to anotherplace, I mean it doesn't even
have to be at Washington Valley,it can be anywhere else.
It's just kind of like whoa.
Speaker 1 (12:22):
I've seen it so many times with our students.
We always produce really strong, beautiful dancers and then
they go and as they get closerand closer like 16, a lot of
them want to quit, and I don'thave any problems with them
quitting.
I think that that's a verynatural reaction to the real
(12:44):
world of ballet.
I hate that they actually quitand stop dancing.
What I wish would happen isthat they would say you know
what, maybe my 12-year-old dreamof me becoming a professional
ballerina isn't actuallypossible, but I still love
ballet and maybe I just want todo it two days a week and look
(13:05):
at how I can do it differently.
And I always worry because atour studio we have the ballet
and the tap and the jazz andthen when you guys leave and you
go over to Washington School ofBallet or Ballet Nova, it's all
ballet all the time and I'm soconcerned that you'll be burnt
out on ballet.
Does the joy kind of get suckedout of you as you get older?
(13:25):
I have no idea, because Ididn't do this myself.
Speaker 2 (13:28):
I'd say I wish we had more of a variety, just because
I've been used to that growingup.
Speaker 1 (13:33):
So what do you think helped you in our studio to
prepare to go into the biggerworld of ballet?
What do you think you got fromus and maybe other people don't
have it- Honestly like thisfeeling of like internal
sureness.
Speaker 2 (13:49):
There was this thing that we had at your studio
called the Got it Bar, and Iremember that so vividly.
It's like learning how to pickup combinations fast.
I know that there's people thatdon't really have a very strong
work ethic and it's just kindof like unfortunate to see
because from what I've learnedfrom you strong work ethic,
(14:11):
determination I feel like a lotof people didn't get that
opportunity.
Speaker 1 (14:16):
My goal is to empower my dancers.
Speaker 2 (14:18):
Oh, I definitely got that for sure, good, good.
Speaker 1 (14:21):
So, now that you know more and you've been there,
what would you give Ava?
A 10 that you didn't get?
Speaker 2 (14:29):
I would say being very open-minded and
experimental with my work.
Speaker 1 (14:34):
That's so funny because I would never allow it.
It's always this or this, thisis my way, or the highway right,
yeah, so that's really reallyinteresting and of course,
you're right, keep talking aboutthat to be more open and free
and experimental.
Speaker 2 (14:53):
And just because I've had people tell me the past,
it's good to have an open mindin the studio and not just think
of one thing as one way,because in reality it's not that
.
You're going to go places andyou're going to meet new people
that are different from you andthat are going to have different
approaches to the work.
Speaker 1 (15:09):
I always say to my dancers that this is what I want
and you must do what I want,because I'm the teacher in front
of you.
But you will be with otherpeople and you will have to do
exactly what they want.
You don't just get to say, well, I like to do it this way
better.
Speaker 2 (15:28):
When somebody's asking you to do something,
that's a very strong asset tohave in a dancer someone that
can adapt to different types ofworks and styles.
Speaker 1 (15:39):
I've talked about this on other podcasts.
Our studio is three to 13 yearolds and at first everybody was
sad when I decided that everyonewas going to have to graduate
from us at 13 and I struggledwith it myself.
But over the years I've justrealized how much better it is
(15:59):
for my students to get a reallystrong foundation when you're
young and then to let thebutterfly go and get several
different teachers andexperiences and every student.
You went the ballet route,other people have gone the
theater route, some people gothe dance team route.
(16:21):
People at 13 really are oldenough to assess how much they
like dance, what parts of itthey like, how they should move
on with it or not, and itorganically became this thing
that I think is really betterfor the students than me keeping
them from three to 18.
(16:42):
Like that would not be servingthe students in the best
possible way.
Speaker 2 (16:46):
For sure.
Speaker 1 (16:47):
And then you said you know flexible, more freedom,
even in tap.
I never do improv and I knowthat you're supposed to do
improv in tap and I hate improvpersonally.
That's so funny.
I hate improv.
I kind of feel like you'recoming to me to learn from me.
Go home and do improv.
(17:08):
But forcing people to do improvin front of other people is a
really good skill and I just I'mlimited in it and so I don't
give it to my students.
Speaker 2 (17:20):
That's something that we actually learned at Wash
Ballet.
In contemporary class we do alot of improv and that's
something that I feel like I'mmore comfortable in now.
I think before I used to bevery unsure of what improv
really meant.
I didn't really know how tolike express myself, but now I
would say it's one of mystrongest assets.
(17:42):
It comes very naturally to menow.
Speaker 1 (17:45):
And you like it.
Speaker 2 (17:46):
I do like it.
I think it allows me toexperiment a lot and see what I
can do.
You know, just creating withyour body in ways that you've
never known how to do before.
It's just incredible.
Speaker 1 (17:57):
How many teachers a week do you have now in your
training program?
Speaker 2 (18:01):
I'd say about six, seven.
Speaker 1 (18:03):
Six or seven different teachers every single
week.
How do you, as a student,respond to all these different
personalities?
Speaker 2 (18:13):
Just learning how to adapt to one teacher and then
knowing that this teacher worksdifferently.
Speaker 1 (18:20):
I bet there are common threads that all of the
best teachers have.
What do the really greatteachers all have in common?
Speaker 2 (18:28):
How they run a class how they can properly warm up a
dancer and make them ready fortheir day.
At the end of the day, everysingle teacher that I've had, I
always feel warm.
I always feel ready for my day,no matter like if their plie
combinations are different or iftheir tendus or their center
work is different.
I always feel like my body iswarm and prepared for what's to
(18:53):
come in that day.
And if you're not properlywarmed up, that's not good.
Speaker 1 (18:57):
If you advertised here, you'd be hearing your ad
right now.
For more information onadvertising on this podcast,
email SallyBallet at hotmailcomor call 703-981-0718.
Talk to me about what your dayconsists of.
Speaker 2 (19:18):
This past year, my experience was waking up and
getting ready for classes,taking a five minute walk to the
main building at the WashingtonBallet or the other location,
and then I would start my dayeither at 9.30, 11, depending on
what time we started.
Speaker 1 (19:35):
And then, what time does it end, what time does your
day end?
Speaker 2 (19:38):
Mid-afternoon, I'd say around like 4 or 5.
But then if we had longerrehearsals I could extend until
8.00, or if we didn't haverehearsals that day, we could be
done at 2.00.
It really just varies.
And then after my day I wouldgo home, eat and maybe hang out
with a few friends or two and goto sleep and then the day
(20:00):
starts again.
It's that simple.
Speaker 1 (20:05):
Yeah, your life is extremely structured, but you
have to have parents that arewilling to buy you an apartment
and pay for all your food andpay for the pre-professional
training program.
It's all very expensive andthere might be people that can
dance the way you can dance, butmaybe not have the parents that
(20:27):
can pay that, and I wasthinking that's where
scholarships come in, so I knowI wonder if a person like, let's
say, you didn't have theparents that could pay, right,
but you'd kind of put yourselfout there.
Speaker 2 (20:40):
How do you put yourself out?
Speaker 1 (20:41):
First of all, give us all your social media so people
can follow you, and then we'lltalk about this.
Speaker 2 (20:45):
Social media.
I usually just use Instagram.
At DemsterAva,D-E-M-P-S-T-E-R-A-V-A.
Speaker 1 (20:55):
And you can follow you there.
So, because you have a presencealready, maybe you could go to
a local business in DCa bigbusiness and say hey, I'm this
dancer, I have an opportunity.
Here's my Instagram.
Do you want to be my sponsor?
Has anyone done that?
Speaker 2 (21:15):
Ask for sponsors?
No, but I know that some peopleare in connections with donors
or are in scholarship.
Speaker 1 (21:21):
I'd like to see if you could get a sponsor.
Speaker 2 (21:24):
Me too.
Speaker 1 (21:25):
I would love that, I wonder if that would pave the
way for others.
They can support the artists,at the same time supporting
their business.
So I'm curious, this rigorous,rigorous schedule, how does the
Washington School of Ballet takecare of their dancers?
Speaker 2 (21:44):
They stress on this a lot at Washington Ballet If you
have an injury, please reportit to your teachers.
They don't want any dancerdancing on an injury.
That is the most importantthing, because a lot of dancers
like to push their abilities,like, oh, it's just an ache, I'm
fine, I'm fine and just push itoff.
But in reality it could lead tosomething worse and if you just
(22:07):
stopped dancing that day, youcould have saved yourself from a
lot of future pain or causedthis injury to go on more.
Speaker 1 (22:16):
I hope people are hearing that.
Dancers are hearing thatbecause we are, we're strong and
we pride ourselves on beingstrong.
Speaker 2 (22:22):
And we have a high pain tolerance, high pain
tolerance.
Speaker 1 (22:26):
So many doctors have said to me you have an extremely
high pain tolerance, Likeneedles like yeah.
But real strength is in knowinghow to really take care of
yourself, and so there's a realbalance between just pushing
through any kind of pain andunderstanding when pain can be
(22:48):
pushed through and when painshould not be pushed through.
Speaker 2 (22:51):
Your body is your temple.
Your body is what you work with.
Speaker 1 (22:54):
You know it's the facility that you have, we might
be less inclined to say thatwe're injured, because we kind
of think everyone's going tothink we're just a baby.
So we do need to be very, verycareful about thinking.
We know what's in anotherperson's body and let them
(23:15):
decide and just focus onourselves.
If you've been dancing as muchas you've been dancing, you
certainly know the differencebetween good pain and bad pain.
You just do.
How about nutrition and rest?
Like, how do they?
Speaker 2 (23:29):
We've had a few nutrition seminars this past
year.
Obviously they say drink a lotof water, electrolytes,
important carbs for energy,protein for the muscle
regeneration.
Speaker 1 (23:41):
I mean they have to be aware that they're eating
disorders and that they wanttheir dancers to be strong, lean
ready to dance.
Speaker 2 (23:52):
And if the teachers notice anything going on with
their dancers, like physically,they would say something or just
check in with them.
Speaker 1 (23:59):
Because at American Ballet Theater they are not
allowed to, and I think that's areally interesting thing, and I
didn't know that, yeah.
They're not allowed to speak tothe dancer about underweight,
overweight, nothing that theysee.
The only people that areallowed to talk to the dancer
are the doctor.
How do you feel about that.
Speaker 2 (24:18):
At Washington Ballet there's a lot of student-teacher
personal connections so I feellike there's that trust that you
can have within the teachers totalk about things.
It's a comfortable environmentto do that.
Speaker 1 (24:29):
I just hope that they're promoting healthy foods
for dancers.
Speaker 2 (24:33):
They are For sure.
Speaker 1 (24:34):
Good.
In the old days, you know, itwas like starve yourself, smoke
some cigarettes and get back outhere.
Speaker 2 (24:40):
Yeah, I mean that's basically the message To keep
the lean looks so you wouldn'tfeel full.
Oh my goodness, yeah I mean you, yeah.
Speaker 1 (24:48):
so I'm hoping that you guys are getting really good
messages about taking care ofyourselves, yeah there's a lot
of love and care.
That's good.
Do they recommend a certainamount of sleep?
Eight hours.
Yeah, I mean, they tell youlike we want you to be sleeping.
Speaker 2 (25:04):
Yeah.
Speaker 1 (25:04):
Good, all right.
So how does somebody that worksas hard as you, work in an
intense program, how do youspend like relaxation time?
How do you have fun?
Speaker 2 (25:14):
I like to meditate a lot.
Well wait, I heard relaxation,so I honestly just like
meditation.
Speaker 1 (25:21):
I mean, maybe it is fun for you, but I find it super
calming.
Speaker 2 (25:27):
Like five to ten minutes before my day starts I
would meditate and it doeswonders.
Speaker 1 (25:33):
I know that that's true and I believe it strongly.
It just I was expecting likesomething a little bit more like
fun, fun fun.
Do you have a small group offriends, a large group of
friends, a boyfriend?
Do you go to the movies?
Speaker 2 (25:49):
Do you?
Speaker 1 (25:49):
walk around and go out to eat.
Like, what do you do?
Speaker 2 (25:53):
Yeah, on our weekends I like to go out.
Georgetown is a very local hotspot with all shops and all the
fun things to do with yourfriends.
You know I have a lot offriends outside of the ballet
but I spend most of my time withballet people.
Speaker 1 (26:11):
You have a huge smile on your face, so you must be
having a wonderful time withthem.
So what are your next steps?
No pun intended.
Are you thinking, just takethis next year as a trainee and
just throw yourself into it?
Are you kind of looking around?
You got your eyes on otheroptions.
Speaker 2 (26:30):
I did apply for the studio company at Washington
Ballet and, depending on thatoutcome, that will help me
decide where I'm going to go inthese next few months.
As for future plans, I do wantto come back to Washington
Ballet.
I feel like I really want todance there professionally.
I have very high interests.
Usually trainees do like twoyears before they get promoted,
(26:56):
either with the same company orsomewhere else.
But you know, it doesn't hurtto have high hopes, it doesn't
hurt to be ambitious and wantmore for yourself.
If you don't say what you wantand you don't stand up for
yourself, they will never knowand then it's just a lost
opportunity.
Speaker 1 (27:12):
Another life lesson.
I've been talking to someonevery close to me at their job.
You know I'm like, if you don'ttell people what you want,
nobody knows.
Nobody goes home every day andthinks about so-and-so.
When they're home they'rethinking about themselves and
their careers and if you don'tkind of be a little bit of a
squeaky wheel not a superannoying squeaky wheel, but a
(27:35):
little bit like hey guys, thisis what I like, this is what I
want Then it puts the bug intheir ear and then they can
decide.
Nobody will ever do it for youand you got to learn how to do
it for yourself early and always, and there's a way to do it
that is not at all obnoxious.
Is there anything you want toadd that we didn't talk about
(27:57):
that you think people would beinterested in or should know?
Speaker 2 (28:00):
Share your passion and your love for dance with
people.
Speaker 1 (28:06):
Ava, I'm so happy you were here and talked with us
today.
Thank you so so much.
Speaker 2 (28:12):
Thank you for having me.
I think this was great.
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