Inspirations for Late Beginners

Good teachers are careful to caution teen beginners and young dancers generally on the harsher realities of professional prospects combined with beginning “late”, as we very well should. But today I’d like to spend a moment to highlight some great late-beginner success stories of our day. (Female dancers often encounter a higher standard of technique in the professional world and require more years of preparation than men, so we’ll focus on ballerinas here. Also, when you read that a dancer began “formal” or “serious” training at a certain age, that usually indicates that they took recreational dance classes before that.)

Recently highlighted on Dancing With the Stars (a show that recently has recently done a nice job promoting classical dance and its relevance to modern entertainment), Patricia Zhou began serious dance training at about 13 years old. Now 17, Ms. Zhou has made a splash in the international competitions and climbed all the way to the professional ranks of her dream company, The Royal Ballet. Her extraordinary gifts coupled with dedication, hard work and luck have catapulted her into a world that her parents would have had her forego for academics, making the Zhou a testament to passion and perserverance. Enjoy this clip of her on national television:

Kristi Boone, soloist with ABT, also began at thirteen. She had natural facility for ballet’s demands and talks about her first experiences in this ad for Gaynor Minden.

Superstar principal of New York City Ballet Wendy Whelan didn’t start serious training until relatively late, though she did take dance as a youngster. You can listen to her talk about her training path here.

Vannesa Sah, of the tech-savvy pre-professional company Anaheim Ballet, didn’t begin ballet until college. She has some lovely words of encouragement and advice for late-starters here.

Recently retired darling of The Royal Ballet Darcy Bussell began her formal training at the school at White Lodge at 13. Bussell did have some prior dance training then. Her epic career has been an inspiration to aspiring ballerinas of all levels.

Carmen Corella,  Artistic Director and principal dancer with the recently founded Corella Ballet Castilla y León, began her training at around 13 as well. After a successful career reaching to a soloist position at ABT, Corella followed her brother, ABT principal Angel Corella to found their new company with a little help from another later beginner you may have heard of, Natalia Makarova.

Most recently seen in the national campaign for BlackBerry, Misty Copeland is not only a late beginner, having started at 13, but is also the first African-American in two decades to achieve soloist rank at American Ballet Theatre. She has also significantly helped broaden acceptable and appreciated body-types in professional ballet. Clearly Ms. Copeland has multiple broken barriers in the ballet community through her undeniable excellence.

Naturally, I am still going to caution you that a professional contract is a mighty goal even for a female dancer who began at a proper age for it! But like Vanessa Sah, you can certainly find a happy ending for your dance training if your goals are to learn how to express yourself enjoyably through movement in a challenging classical vocabulary. Or would that be a happy beginning?

Update: A reader has pointed out that Zhou’s own résumé indicates that she attended a summer program in 2005 (six years ago) and has taken many Cecchetti exams. I generally try to respect artists wishes to exclude training that they feel was not of a level sufficient to designate it as part of their education. While Zhou indicates that she attended summer dance camp in 2005, I would be suspect of any summer dance program with the word “camp” in it. In fact, the current program is advertised as less than two weeks of instruction.

Zhou does not mention any other ballet training on her resume before Kirov in 2007, so I have chosen to respect her implication that whatever took place before then was too low-quality to have influenced her career to any possible degree. In fact, in this article, Zhou discusses that she didn’t even know that Sleeping Beauty was a ballet, leaving one to wonder if her original school did more harm than anything. As you know, it is much harder to undo bad training than learn from scratch. That said, I do not know anything about her former school personally, so feel free to research it (named in that article) and decide for yourself. I’m also sorry to say that from what I have witnessed, Cecchetti exams in the US do not necessarily provide any indication of whether a student has learned ballet. I have seen many passing students who were wholly pedestrian. Read this post on BalletTalk to understand more about the risks of poor schools, even those who may talk of their Cecchetti exams. This is an important topic that probably deserves its own post, but that will have to wait for another day! The reader has brought a very important issue to the table, and I hope I have done the matter justice for the time being.

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7 thoughts on “Inspirations for Late Beginners

  1. Juliet says:

    I like this…realistic but not too harsh :)

  2. Alison says:

    Thank you for posting these. I started at 13 and don’t expect to go professional, but hope to keep improving.

  3. Melissa says:

    The incredibly talented Patricia’s Zhou’s own ballet resume at https://sites.google.com/a/patriciazhou.com/home/resume indicates that while she began her “professional” training at the Kirov in 2007 at the age of 13, it was not her actual first ever entry into the ballet world, just as you implied in general in your first paragraph. Her list of summer intensives includes one in 2005. She also took several levels of Cecchetti exams, which I am guessing may have taken place before she entered Kirov.
    She’s still an impressive dancer with a huge future ahead of her no matter when she actually starting taking dance classes of any sort! :D

    • Melissa – Thank you so much for reading and commenting on BalletScoop! You have brought a very important point up, and I have done my best to respond in an update at the bottom of the post. Thank you again!

  4. rose peng says:

    Patricia went to a recreational dance studio before attending Kirov. As someone who knows dance, having 40 minutes a week for ballet class in a studio that is purly recreational should not be considered “ballet training”. Anyone who is at Kirov knows Patricia started from the very bottom when she first got there and it was there she got the training that leads her to where she is. She is very fortunate to be accepted by Kirov based on her “raw talent” as she was told at the Kirov audition four years ago.

  5. Maria says:

    Hey,
    Your text is really inspiring. Thank you for posting it. I started doing ballet last year when I was 19 years old and I’m so angry to myself that I didn’t start it earlier.. I would like to be a professional ballerina more than anything! Now after 9 months ballet practise I’m doing ballet at grade/level 5 and my teacher is teaching vaganova method. I have 6 ballet lessons per week. I also started doing pointe after 6 months training and my teacher told me that I’m really talented but still there isn’t any way to make it to be a professional because I’m too old. That is so unfair! But maybe I’ll be good ballet teacher some day…

    • Don’t be angry Maria – try to let go of regret and immerse yourself in the joy of being able to move and fly in a way that few others will know in their entire lives! And while professional ballet is an admirable goal, you will be able to maintain a sheer love for dance as a non-professional that can be hard to maintain once it becomes a job and the pressures of keeping yourself employed become real. Good luck to you and thanks for reading!

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