Hey everyone! I have a long day of rehearsal tomorrow, but seeing as how I am awake and thinking, I wanted to share something with all of you.

Most of you around here know me, but for those who don't, I am a largely Balanchine trained ballerina with a huge insatiable thirst for learning any and everything about ballet and its methods. That said, after being accepted into Bossov's summer program in November, I decided to look into taking Vaganova classes. I found an incredible (and I mean WOW!!!) academy in my area, and have been taking class there about 4x a week, 3 classes per day in addition to my twice weekly Balanchine routine. Having studied Vaganova now through both the academy and through my EXTENSIVE research via videos, DVDs and books (including the one by Vaganova herself) I wanted to share some of the things I have learned!

There seem to be many myths and mysteries surrounding Vaganova technique, some of which I believed in before training in it. So here are common ones that I confronted and dispelled or proved.


1. Vaganova Method encourages forced turnout.

Verdict: FALSE!

Now, this seems to be the most popular myth about Vaganova. All the students in the Russian schools have flawless turnout, and it is assumed that this standard is imposed on those in the USA as well.

However, it's not really true. My teacher was trained in Russia and does not ever FORCE turnout. She will make you use everything (and I mean everything) you have, but always safely, knees over toes and no pronating/rolling of the feet. Because I was blessed/cursed with 190 degrees of natural turnout, I am expected to maintain perfect turnout. But there are others that do not have as much naturally, and therefore are encouraged to use everything they have, but never to force it, and always to do it safely and effectively.


2. Vaganova teachers are more strict and tougher.

Verdict: Neither true nor false.

In my experience, Vaganova method teachers (or at least mine) are indeed of a different teaching methodology than the American teachers I have studied with. I'm half Russian, so culturally I know there is a difference. The bottom line, I have discovered, is that Russian teachers tend to be both tougher and more loving with their students.

While my American teachers usually maintained an even keel, never being too tough or too sweet, I have found the opposite in my Russian/Vaganova teacher(s). They want very much for their students to dance correctly, beautifully, and well, and will enforce discipline in terms of concentration and physical technique. Again, perhaps thanks to my heritage, I'm not at all bothered by this! Though I could perhaps see how a student from the outside may feel a bit leery.

On the other hand, where American teachers have tended to maintain a strict student/teacher relationship, my Russian teacher cares very deeply about every student and expresses such. Hugs, endearments, and nicknames are very common and frequent. If you are a Vaganova student, you are a Vaganova child, reared up by this glorious ballet technique.


3. Vaganova method does not produce good turners.

Verdict: False, but with explanation.

One thing I have absolutely discovered in Vaganova technique is its absolute attention to detail and perfectionism. In contrast with the Balanchine method, in which I learned pirouettes and big jumps fairly early, the Vaganova method (as I am learning it) teaches you to have a flawless foundation before advancing to the next level.

If you do not do it right, do it again till you do. This is a principle I have seen applied very heavily and to great avail in my class and within myself. By never, ever bypassing a little mistake or wobble, the dancer learns to be 100% confident in their foundation technique, allowing for easier, more flawless advanced technique, including both turns and jumps.

In terms of the actual technique and process of Russian turning style, it IS different than what is often taught in the mixed RAD/Cecchetti world of American ballet. Arms are a bit different, as is takeoff, landing, and the height of the passé. But with a Vaganova foundation, a Vaganova turn, I have found, is actually more effective for me!


4. Vaganova method stresses body type more than any other method.

Verdict: This is sticky.

This is a commonly held belief in the ballet world, or at least what I have been exposed to. That the Vaganova method teachers are more selective and demanding of the types of bodies they will train. This is both true and false.

Aesthetically, there is not much difference in terms of the ideals of Vaganova trained teachers and non Vaganova trained teachers. When it comes down to physical features, though, I have seen that the method is more selective. Since the method is very focused on proper and full turnout, range of flexibility, and VERY demanding on the body (in my experience, more so than any other method I have tried) the teachers take into account what bodies will be able to assimilate the method with the least amount of injury. This is NOT an aesthetic choice, but a safety decision made for the student's best interest.

My teacher has been able to train girls of varying body types, but all of them have the key features that allow them to assimilate the Vaganova technique safely and with a minimum of injury. That includes:
-A high degree of natural turnout flexibility
-Well arched feet for pointe
-Flexible torsos and hip joints
-Fully stretched knees
-A decently long Achilles tendon

These features allow for injury minimal practice of Vaganova method ballet. Someone lacking one or more of these features may still learn the technique, but I think with a greater risk of injury, as it stresses things like a VERY deep plié and high demi pointe. It is impossible to completely separate the aesthetic from the physicality in ballet, but let me just say that the general technical aesthetic of the Vaganova method allows little room for otherwise normal physical features that may be considered deficient in ballet.


5. Vaganova technique is focused more on gymnastic aspects of ballet than on musicality and artistry

Verdict: Definitely FALSE!

I have heard this many places from many people, and never really believed it, but had my stance confirmed in my recent training. While many accuse Zakharova or Somova of beign deficient with their musicality and artistry in favor of "tricks" like high extensions, this is NOT a hallmark of the Vaganova method in any way. As per those dancers, I have my opinions and everyone else is entitled to theirs! I like them both and that is that.

I have noticed that natural internal rhythm is absolutely key in the Vaganova method, in a similar way to Balanchine technique (but of course, Balanchine was Russian!) Steps are done with a sort of music-less rhythm that is beautiful and difficult without a good natural musicality. When actual pieces are rehearsed, a dancer that is off the music will be corrected just like a dancer who is standing turned in, no exceptions.

As per artistry, I am seeing firsthand just how much it is valued. The Vaganova technique is very interested in preserving the art and tradition of the ballet, not just advancing its technique. The gaze, the head, the port de bras, the EMOTION of pieces are taken very, very seriously. One never "throws away" a single gesture or movement, as it is considered the ultimate insult to a beloved art.



Overall, this is what I have learned so far, and hope to learn and share more in the coming months as I continue studying! It has been quite the journey so far, and I feel as though I improved more in my first class of Vaganova than I did all six weeks of summer intensive last year. I hope some of you find this helpful! I HIGHLY recommend reading Vaganova's Principles of Classical Ballet for anyone who is studying or curious about the Vaganova technique. It was only $7, and a great read! VERY insightful and enlightening.

Thanks for reading!

Da skoray fstreyechee!