Functions and Relevance of Higher Studies in Classical Dance

Sir Peter Wright rehearsing Simona Noja in the role of Aurora (Sleeping Beauty)

The question "What is the purpose of higher studies in classical dance?" touches the core of the value of education in performing arts. In the case of academic ballet, the answer involves a complex, interdisciplinary, and profoundly formative approach:

a) Formation of Conscious Artists, Not Just Performers: A cultivated dancer, familiar with the history, aesthetics, and stylistics of ballet, becomes:

• An interpreter with depth and artistic intention;

• A bodily communicator capable of conveying meaning, context, and emotion;

• A responsible creator, aware of the tradition they belong to and the impact of their own approach.

b) Development of a Critical Basis for Research and Innovation: University studies in classical dance offer openness to fields such as:

• Dance anthropology – for understanding the phenomenon in a socio-cultural context;

• Aesthetics – for investigating how dance produces emotion, symbol, and meaning;

• Stylistics – for differentiating between various schools and pedagogical approaches;

• Dance theory and methodology – for grounding pedagogy and choreographic creation.

Through this, the dancer becomes a researcher, pedagogue, and innovator simultaneously.

c) Dialogue Between Classical Dance and Other Arts or Social Domains: Through knowledge of history and theory, the student understands:

• The evolution of dance depending on social, political, and cultural context;

• Connections between dance and other arts – music, painting, literature, theater;

• The role of dance in contemporary artistic responses to themes such as identity, gender, or globalization.

An educated dancer becomes an agent of artistic reflection and a bodily thinker, not just a spectacular performer.

d) Diversification of Career Opportunities: A graduate of a classical dance program can access multiple professional roles:

• Ballet teacher or coach;

• Choreographer with an articulated aesthetic vision;

• Dance critic, researcher, or movement dramaturge;

• Cultural manager, curator, or artistic consultant.

Without a solid theoretical foundation, many of these options remain inaccessible.

e) Dignity and Legitimacy of the Art of Dance: Dance is often marginalized as a "decorative" or "inferior" art. Academic study:

• Elevates it to the level of an intellectual and analytical art;

• Provides it with a legitimate framework in academic culture;

• Allows the integration of dance into national and international

Conclusion:

A higher education in classical dance represents more than just professional training—it is a form of intellectual deepening, a humanization of artistic practice, and an opening toward interdisciplinary dialogue. It prepares artists who not only perform dance but also understand it, analyze it, teach it, and develop it, transforming it into an act of reflection and knowledge.

#dancehigheducation #simonanojanebyla #dancetheory

Book Presentation: Techniques and Methods in Classical Dance, by Dr. Nicoleta Demian

Nicoleta Demian

The volume Techniques and Methods in Classical Dance, authored by Nicoleta Demian, is a specialized work dedicated to the in-depth study of classical dance, focusing on its technical, aesthetic, and methodological aspects. The book is rigorously structured, with a clear orientation towards pedagogical and artistic training, addressing students in choreography, as well as teachers, ballet masters, coaches, and all those passionate about ballet who wish to deeply understand the complexity of this artistic language.

Structure of the Work:

• Argument

• Part I – Fundamentals of Classical Dance

• Part II – The Classical Dance Lesson: Spatial-Temporal Dimension and Expressivity

• Part III – The Pedagogical Dimension of Classical Dance

• Conclusion

Purpose of the Work: The work proposes a theoretical, analytical, and systematic approach to classical dance technique, aiming to define and clarify the essential concepts of ballet through a proprietary system of analysis. The book updates and supplements the information previously presented in the volumes published in 2010 and 2012, building a solid foundation for the choreographic educational process.

Author's Vision: The author asserts that the methodology of teaching classical dance is essential in the scientific research of this field and in the development of current choreographic education. Nicoleta Demian considers the dancer's body as an expressive instrument that must be "tuned" and harmonized with the mind to convey emotions and ideas. The learning process, in her view, is profoundly practical but also requires a solid theoretical foundation and a deep understanding of technical principles.

Furthermore, the author acknowledges the importance of the over 350-year tradition of classical ballet but emphasizes its dynamism, highlighting the influence of contemporary choreography innovations in the teaching process. She advocates for terminological clarity and conceptual rigor, rejecting erroneous theories propagated by some charismatic but scientifically unfounded pedagogues.

Fundamental Principles of Classical Dance Technique, According to Nicoleta Demian:

1. Outward rotation (en dehors) of the leg muscles

2. Specific positions of the body, legs, and arms

3. Fundamental movements (executed par terre, en l’air, through jumps, or en pointes)

4. Realization of the dance form

Content and Utility: The book is structured into three parts, preceded by an introduction and concluded with a conclusion, offering a solid theoretical and methodological foundation. It analyzes exercises at the barre and center, along with didactic guidelines regarding the organization of lessons in the context of vocational artistic education.

The tone of the work is academic and formative, combining the author's pedagogical experience with critical reflection on current practices in classical dance.

Consolidation of Classical Dance as an Academic Discipline: The book makes a significant contribution to the academization of classical dance, proposing a unified professional vocabulary and a structured approach in a field often perceived as exclusively practical or artistic. Within higher education institutions with a choreographic profile, such a work enables:

• Building a solid theoretical framework for courses, exams, and research activities;

• Alignment with international standards in choreographic education;

• Facilitating coherent and reproducible teaching, comparable to methods used in prestigious ballet schools worldwide.

University Professors and Trainers of Future Dancers or Choreographers Benefit From:

• Clear lesson structures with well-defined methodological stages;

• Applicable didactic methodologies in various contexts;

• Technically analyzed exercises in rhythm, style, and space, adaptable to each student's level.

     For Students in Choreography, Dance Pedagogy, or Performing Arts Specializations, the Work Offers:

• A reference theoretical manual;

• Learning and self-evaluation guides are essential for individual development;

• Tools for conceptualizing movement beyond the intuitive level, towards a reflective and rational understanding of the moving body.

   Support for Scientific Research in Performing Arts: In the current context of developing research in the performing arts field in Romania, this work represents:

• A valuable scientific resource for bachelor's, master's, and doctoral theses;

• Support for comparative and interdisciplinary studies in areas such as psychopedagogy, movement biomechanics, or applied aesthetics;

• A starting point for professionalizing the discourse on dance, promoting a transition from artistic impression to rigorous and argumentative analysis.

Moreover, in a context where classical dance is often dominated by Russian or French models, such a Romanian work:

• Affirms the value of academic training in Romania;

• Demonstrates the existence of authentic local expertise in classical dance pedagogy;

• It can serve as a methodological benchmark in the national choreography curriculum.

Techniques and Methods in Classical Dance, authored by Nicoleta Demian, serves as a comprehensive and well-documented methodological tool for the profound understanding and rigorous teaching of classical dance. Offering both theoretical foundations and practical applications, the author successfully articulates a modern didactic approach, well anchored in the tradition of academic ballet, yet open to innovation and interdisciplinarity. Through the clarity of its structure and richness of content, the volume stands as an essential guide in the training of dancers and educators in contemporary choreography.

soon available here

Dance Theory -Module 1- On the Relationship Between History, Theory, Aesthetics, and Style in Dance

In the world of dance—especially classical ballet—history, theory, aesthetics, and style are deeply interconnected concepts that help us understand not only how we dance, but why we dance the way we do. Ballet Knowledge for Independent Thinkers

Dance Theory -Module 1- On the Relationship Between History, Theory, Aesthetics, and Style in Dance

Simona Noja-Nebyla during the pilot-project Noja-Nebyla STAGE Education, Vienna 2020-2022

Od bábok k obeti: Noc Stravinského modernizmu, 5. apríla 2025: Premiéra Stravinského baletov Petruška a Svätenie jari v divadle SĽUK, so Slovenským ľudovým umeleckým kolektívom (SĽUK) Bratislava

Reflexie Dr. Simony Noja-Nebyla v tvorivom dialógu s Borisom Nebylom

Mali sme tú česť zúčastniť sa premiéry Stravinského Petrušku a Svätenia jari v divadle SĽUK v Bratislave v podaní SĽUK-u (Slovenský ľudový umelecký kolektív), slovenského národného folklórneho súboru. SĽUK, založený v roku 1949, sa stal najvýznamnejším profesionálnym slovenským folklórnym súborom s cieľom uchovávať, interpretovať a rozvíjať slovenské ľudové tradície – najmä prostredníctvom tanca, spevu, krojov a rozprávania príbehov. Hoci vychádza z tradičnej ľudovej kultúry, SĽUK v priebehu rokov rozšíril svoj umelecký jazyk – niekedy začleňujúc súčasné, divadelné, ba dokonca baletné prvky do svojich predstavení. Je predovšetkým národným folklórnym súborom, no je známy aj tým, že posúva hranice kreativity – čo robí jeho inscenácie diel ako Petruška či Svätenie jari obzvlášť výnimočnými, keďže tieto diela nepatria do tradičného folklórneho kánonu, no môžu byť pretvorené cez jeho jedinečný pohľad.

V nekonvenčnom choreografickom výklade sme boli svedkami spolupráce profesora (Igor Holováč, choreograf Petrušku) a jeho bývalej žiačky (Hana Vidová, choreografka Svätenia jari). Táto inscenácia nepredstavila len dve tanečné diela, ktoré predefinovali hudbu a tanec 20. storočia (pôvodná produkcia vznikla v spolupráci Stravinského, Fokina a Benoisa pre Ballets Russes Sergeja Ďagileva v Paríži v roku 1911), ale zároveň kládla výzvy 21. storočia v oblasti vzdelávania a umeleckosti.

S použitím Goetheho poznania – že „každý počuje iba to, čomu rozumie“ – si trúfame tvrdiť, že všetci tvorcovia a spoluautori večera prenikli do svojich diel s hlbokým premýšľaním a emóciou, čím na javisko priniesli jedinečné, často skryté aspekty ľudskej duše. Najsilnejšie dojmy, ktoré po spadnutí opony doznievali, boli bohaté a viacvrstvové: umelecké odkazy o tom, ako pohanské rituály stále rezonujú v nás skrz hudbu a pohyb; ukážka vzdelávania ako spolupráce medzi učením a vyučovaním; inovatívne použitie baletného jazyka na rozšírenie repertoáru tradičných tanečných súborov; vznik výnimočných predstavení s tancom v hlavnej úlohe – v reálnych finančných podmienkach; a rozvoj miestnych talentov pri vytváraní individuálneho choreografického prejavu cez interpretáciu univerzálnych kultúrnych tém.

Petruška
Prvý balet večera, Petruška, v choreografii Igora Holováča, „rozpráva príbeh troch bábok s ľudským srdcom, oživených kúzelníkom počas karnevalu v Petrohrade. Petruška (napoly komická, napoly tragická postava) sa zamiluje do Baleríny, no prehráva súboj o jej srdce so silnejším Mourom. Pôvodný príbeh troch bábok nesie hlboké, stále aktuálne posolstvo. V súčasnej interpretácii pribúda aj téma manipulácie: každý sa môže stať bábkou v rukách manipulátora, no každý sa môže aj manipulátorom stať.“

Petruška je postava bohatá na symboliku a archetypálne významy – komická aj tragická zároveň – vysmievaná, no schopná hlbokého citu. Možno ho vnímať ako tragického klauna alebo svätého blázna – postavu, ktorú ostatní odmietajú a podceňujú, no je schopná niesť emocionálnu pravdu a morálny vhľad. Kristián Sorokáč ako Petruška vyvoláva empatiu cez svoje utrpenie a autenticitu – napriek tomu, že je „len“ bábkou. V jeho interpretácii vidíme aj rebela, toho, kto nezapadá do spoločenských noriem a odporuje uloženým rolám – duša uväznená v tele, ktoré mu nepatrí, bojujúca proti ovládaniu až do smrti. Kristián Sorokáč nám umožňuje predstaviť si, že aj bábka môže cítiť, milovať a trpieť – čo vyvoláva otázku: ak to dokáže bábka, prečo by to nedokázal aj človek?

Balerína v Petruškovi je tiež fascinujúca postava, zapadajúca do určitých archetypov. Je kľúčovou postavou v emocionálnom a príbehovom oblúku baletu a podobne ako Petruška, aj jej rola umožňuje rôzne výklady. Aj keď nekoná so zlým úmyslom, jej krása a náklonnosť (spočiatku venovaná Petruškovi, no rýchlo sa presúva k Mourovi) sú katalyzátormi tragických udalostí. Predstavuje ideál lásky, ktorý je pre Petrušku nedosiahnuteľný. Sofia Bendovská interpretuje túto postavu skôr ako nevinnú bytosť než múzu – je objektom túžby Petrušku aj Moura. Obaja ju vidia ako ideál krásy a lásky – pasívny symbol toho, po čom túžia, no nemôžu to mať. Nie je zlá, ale jej správanie a romantické rozhodnutia rozpútajú konflikt medzi Petruškom a Mourom. V mnohých ohľadoch si neuvedomuje hĺbku Petruškových citov, ani tragédiu, ktorá sa okolo nej odohráva – čo Sofia Bendovská veľmi dobre vystihla.

Mour, v podaní Dominika Lukáča, predstavuje antagonistu, ktorý Petrušku prekonáva a zosmiešňuje. Je objektom Petruškovho žiarlivého hnevu. Predstavuje tyranskú silu, ktorá ničí Petruškov citový svet. Ako protivník v milostnom trojuholníku je symbolom temnejšej stránky ľudskej povahy: agresie, rivality a nespútanej vášne. Zatiaľ čo Petruška je duchovný, citový, Mour zosobňuje potlačené inštinkty a fyzickú silu, ktorú Petruška nedokáže uplatniť.

Kúzelník, v podaní Vladimira Frištika, je ten, kto bábky oživí a uvádza ich do pohybu. Riadi ich osudy, hoci si to samy neuvedomujú. Vytvára svet, kde sa tragédia odohráva, no sám zostáva citovo nezainteresovaný. Je to majster manipulácie – postava na pomedzí božskej moci a ľahostajnosti, čo odhaľuje temnejšie vrstvy nášho vnímania osudu.

Scéna a kostýmy Petra Čaneckého čerpajú z Benoisovho konceptu prepojenia ruskej ľudovej tradície s emocionálnym symbolizmom. Namiesto farebného chaosu fašiangového jarmoku sme však vtiahnutí do metamoderného „pocitového štruktúrneho rámca“, kde sa tradícia prelína s inováciou. Bežné objekty ako stoličky sa stávajú súčasťou príbehu – prostriedkami i zbraňami.

Dramaturgia Petrušku, podpísaná Evou Gajdošovou, zohrala zásadnú úlohu pri vytváraní emocionálnej a naratívnej hĺbky predstavenia. Kombinácia folklóru a psychologickej hĺbky umožnila nadčasový i súčasný zážitok z príbehu, kde je každá slza bábky zároveň našou vlastnou.

Svätenie jari
Svätenie jari malo svoju premiéru v roku 1913 (hudba: Igor Stravinskij, choreografia: Vaslav Nižinskij, libreto: Stravinskij a Nicholas Roerich) ako pôvodná produkcia pre Ballets Russes v Théâtre des Champs-Élysées v Paríži.
Od začiatku bolo Svätenie jari koncipované ako balet – radikálny a prelomový. Zobrazovalo pohanské rituály vrcholiace obetným tancom vyvolenej devy. Stravinského rytmická komplexnosť a Nižinského revolučná choreografia z neho urobili jedno z najšokujúcejších a najvplyvnejších tanečných diel v dejinách.

Svätenie jari v choreografii Hany Vidovej je svedectvom choreografickej odvahy niesť oheň minulosti a pretvárať ním budúcnosť.
„Igor Stravinskij čerpal tému svojho diela z mytológie obdobia, keď pohanské rituály dominovali ruskému životu. Každý rok bola jar rituálne vykúpená ľudským životom, a iba tak, podľa povery, mohla byť zaručená plodnosť zeme po zime. Obsahom baletu je pohanský pohľad na prebúdzanie prírody po zimnom spánku a obnova ľudského života prostredníctvom obety vyvolenej bytosti. Starí veštci sedia v polkruhu a sledujú tanec smrti mladej dievčiny, ktorú obetujú bohu jari, aby získali jeho priazeň. V tejto adaptácii však jej staršia sestra vezme osud do vlastných rúk – rozhodne sa obetovať namiesto nej. Tento čin premieňa príbeh na drámu o sile sesterskej lásky, o voľbe a o tom, kto napokon nesie bremeno obety.“

Vidovej verzia Svätenia jari je explicitne inšpirovaná pohanskými rituálmi – najmä myšlienkou obetného rituálu na zabezpečenie obnovy zeme. Jej choreografia sa dotýka tém, ktoré zostávajú silné aj dnes: telesný rituál, v ktorom sú pohyby tanečníkov uzemnené, rytmické a kolektívne – pripomínajúce starodávne kmeňové tance. Radosť je zmiešaná s nebezpečenstvom, strach s obetou. Aj keď dnes už tieto rituály nevykonávame doslovne, cítime ich silu – ich rytmus, kolektívnu emočnú energiu, akoby sme sa dotýkali niečoho zakódovaného hlboko v kolektívnom nevedomí.

Téma Vyvolenej, ktorá sa obetuje, je archetypálna. Vzbudzuje nadčasové otázky: Čo musíme obetovať, aby mohla prísť zmena? Aká je cena prežitia alebo pokroku? Tieto otázky sú stále aktuálne, aj keď už neveríme v doslovné obety. Ako sa v technologizovanom svete znovu napojiť na rytmy prírody?

Ako v nás pohanské rituály stále rezonujú cez hudbu a pohyb?
Hoci boli tieto balety vytvorené na začiatku 20. storočia, stále k nám prehovárajú, pretože sa dotýkajú archetypálnych skúseností: lásky, moci, obety, osudu, komunity, smrti a túžby po transcendentne. Duch Petrušku, ktorý sa na konci objaví – či už posmešne alebo smutne – evokuje myšlienku, že duch prežíva ďalej, že emocionálna pravda nemôže byť zabitá. Pripomína nám starodávne viery o nesmrteľnosti duše a o tenkej hranici medzi svetmi počas sviatočných dní.

Premiéra Stravinského Petrušky a Svätenia jari v divadle SĽUK v Bratislave v nás prebudila niečo hlbšie – pripomenula, že pod modernou fasádou našich životov tieto staré rituály stále bijú v nás. Rozumieme im dostatočne na to, aby sme ich mohli „počuť“? Alebo ich „počujeme“ ešte predtým, ako ich pochopíme?

Čo znamená ukážka vzdelávania ako spolupráce medzi učením a vyučovaním, ktorá zdôrazňuje jemné puto medzi tým, čo učiteľ zamýšľa, a tým, čo žiak pochopí?
Ukážka vzdelávania ako spolupráce medzi učením a vyučovaním poukazuje na to, že učenie nie je jednosmerné odovzdávanie vedomostí, ale spoločný, dynamický výmenný proces. Učiteľ prináša poznanie, vedenie a inšpiráciu, no to, ako ich žiak prijme, pochopí a stelesní, závisí od jeho skúseností, citlivosti, kreativity a interpretácie. „Jemné puto“ označuje neviditeľné vlákno spájajúce úmysel a porozumenie – to, čo chce učiteľ odovzdať, a to, ako to žiak vníma a pretvára. V kontexte choreografie a tanca sa toto puto stáva viditeľným a poetickým: profesor (ako Igor Holováč v Petruškovi) tvorí s určitým zámerom, zakoreneným v tradícii alebo jeho filozofii. Žiačka (ako Hana Vidová v Svätení jari) tieto poznatky prijíma a rozvíja – pridáva vlastnú víziu, prispôsobuje ich novému kontextu, možno ich aj spochybňuje alebo pretvára.

Predstavenie sa tak stáva živým stelesnením tohto procesu. Ukazuje, ako sa poznanie vyvíja, keď je odovzdávané ďalej. Uctieva základy položené mentorom, no zároveň poskytuje priestor pre originalitu žiaka. Potvrdzuje, že skutočné vzdelávanie nie je napodobňovanie, ale interpretácia a transformácia. V tejto inscenácii dialóg medzi Holováčom a Vidovou – jemný, rešpektujúci, no zároveň osobitý – dokazuje, že učenie nie je o vytváraní kópií, ale o pokračovaní. Je to krásny dôkaz toho, že vzdelanie žije cez dôveru, vrstvené porozumenie a umeleckú odvahu.

Obe choreografie – Petruška aj Svätenie jari – ukazujú, ako sa jazyk klasického baletu dá použiť nie ako obmedzenie, ale ako flexibilný a expresívny nástroj, ktorý obohacuje umelecký repertoár tradičných tanečných súborov.

V Petruškovi Igor Holováč pretavil klasickú štruktúru do pohybu vedeného postavou, čerpajúc z expresívnej baletnej techniky a zároveň integroval prvky pantomímy a štylizovaných folklórnych gest. Jeho prístup rešpektoval korene tradičného baletného idiómu, no zároveň ho rozšíril tak, aby obsiahol rozprávanie príbehov dotýkajúcich sa súčasných tém ako identita, manipulácia či odpor. Výsledkom bola svieža interpretácia, ktorá pôsobila zároveň známo aj nanovo aktuálne.

V Svätení jari Hana Vidová posunula pohybový slovník ešte ďalej – spojila presnosť akademického baletu s drsnou, uzemnenou fyzikalitou, typickou pre súčasný alebo dokonca rituálny tanec. Týmto spôsobom vyzvala tanečníkov aj divákov, aby balet vnímali ako zmyslový, kolektívny a elementárny zážitok, ktorý dokonale rezonuje s pôvodnou silou Stravinského hudby. Jej dielo rozšírilo predstavu o tom, čo všetko môžu baletné súbory uvádzať – presahujúc klasické naratívy k existenciálnym, rituálnym a emocionálne intenzívnym obsahom.

Táto produkcia ukázala, ako môže inovatívne používanie tanečného jazyka slúžiť zároveň ako most k tradícii a cesta k evolúcii – rozširujúc výrazové možnosti tradičných tanečných súborov vrátane klasických baletných základov ich tanečníkov. Zároveň zdôraznila dôležitosť podpory domáceho talentu a poskytovania priestoru pre mladých choreografov, aby si rozvíjali vlastný umelecký hlas.

Diela Igora Holováča a Hany Vidovej, hoci každé odlišné, čerpajú z univerzálnych kultúrnych tém – lásky, obety, identity, premeny – a pretvárajú ich do hlboko osobných choreografických interpretácií. V tomto procese ukazujú schopnosť artikulovať jedinečný pohľad, formovaný mentorským vedením aj kultúrnym dedičstvom.

Tento tvorivý dialóg medzi tradíciou a inováciou potvrdzuje silu vzdelávania, spolupráce a miestneho autorstva pri formovaní živej a na budúcnosť orientovanej tanečnej krajiny. Spolu obe choreografie ukázali, že tradičné tanečné súbory sa môžu vyvíjať nie opustením svojich koreňov, ale ich reinterpretáciou – premenou zdedených foriem na silné nástroje pre súčasný umelecký výraz.

Obsadenie z 5. apríla 2025

Petruska
Scéna a kostýmy: Peter Canecký
Dramaturgia: Eva Gajdosová
Svetelný dizajn: Igor Holovác
Choreografia a rézia: Igor Holovác
Petruska: Kristián Sorokác

Kúzelník: Vladimir Fristik

Balerína: Sofia Benkovská
Maur: Dominik Lukác
Dámy:
Dorota Bystrianska
Lenka Gondová
Ema Jirku
Kristýna Krepelková
Páni:
Matús Kotul'ak
Matej Oskera

Svätenie jari
Choreografia a rézia: Hana Vidová
Svetelný dizajn: Hana Vidová
Saman: Kristián Sorokác

Obeta: Viktória Purdeková
Sestra: Zuzana Demcáková
Priatel: Dominik Lukác
Dámy:
Kristína Bazányová
Kristína Cicáková
Lucia Halamová
Veronika Lenártová
Pavlína Sojáková
Páni:
Samuel Matas
Jakub Serence
Adrián Skácel
Adam Sobol
Matej Oskera

#igorholovac #hanavidova #petrushka #riteofspring #sluk #Petruška #Svätenie jari

From Puppets to Sacrifice: A Night of Stravinsky

April 5th, 2025: Premiere of Stravinsky´s Petrushka and The Rite of Spring in SĽUK Theatre, with the Slovak national folk dance ensemble (SĽUK) Bratislava 

Reflections by Dr. Simona Noja-Nebyla, in creative dialogue with Boris Nebyla

SĽUK (Slovenský ľudový umelecký kolektív)

We had the privilege of attending the premiere of Stravinsky’s Petrushka and The Rite of Spring at the SĽUK Theatre in Bratislava, danced by the SĽUK (Slovenský ľudový umelecký kolektív), the Slovak national folk dance ensemble. Founded in 1949, SĽUK became the most prominent professional Slovak folk ensemble, with the mission to preserve, interpret, and evolve Slovak folk traditions, especially through dance, music, costume, and storytelling. While rooted in traditional folk culture, SĽUK has, over time, broadened its artistic language—sometimes incorporating contemporary, theatrical, or even ballet elements into its productions. Primarily a national folk dance company, it is also known for pushing creative boundaries, which makes it especially noteworthy when it stages works like Petrushka or The Rite of Spring—works that are not part of the traditional folk canon but can be reimagined through its unique lens.

A collaboration between a professor and his former disciple

In a less conventional interpretation of choreography, we witnessed a collaboration between a professor (Igor Holováč, choreographer of Petrushka) and his former disciple (Hana Vidová, choreographer of The Rite of Spring). This performance not only showcased two dance pieces that redefined 20th-century music and dance (the original production was done by Stravinsky, Fokine, and Benois for Sergei Diaghilev’s Ballets Russes in Paris in 1911) but also posed a 21st-century challenge to education and artistry. 

"Everyone hears only what they understand”

Using Goethe's insight—that "everyone hears only what they understand"—we dare to affirm that all the creators and co-creators of the evening infused their work with deep thought and emotion, bringing to the stage unique, often hidden aspects of the human soul. The strongest impressions that echoed after the curtain fell were rich and multilayered: artistic messages about how pagan rites still resonate with us today through music and movement; a demonstration of education as a collaborative process between teaching and learning, highlighting the subtle bond between what the teacher intends and what the student understands; the innovative use of ballet language to expand the repertory of traditional dance companies; the creation of exemplary productions where dance takes a central role—within realistic budgetary constraints; and the nurturing of local talent to develop an individual choreographic voice through interpretations of universal cultural themes.

Petrushka, in the choreography of Igor Holováč

The first ballet of the evening, Petrushka, in the choreography of Igor Holováč, “tells the story of three puppets with human hearts, brought to life by a puppeteer (magician) during a carnival fair in St. Petersburg. Petrushka (a half-comic, half-tragic character) falls in love with the Ballerina, but loses the duel for her to the stronger Moor. The original story of the three puppets carries a deep, still-relevant message. Currently, the theme of manipulation is added: anyone can become a puppet in the hands of a manipulator, but anyone can also become a manipulator."

Petrushka is a rich character, layered with symbolic and archetypal meaning—both comic and tragic—ridiculed yet capable of deep feeling. He can be seen as a tragic clown or as a holy fool, a figure dismissed and eventually underestimated, yet capable of carrying deep emotional truth and moral insight. Kristián Sorokáč, as Petrushka, evokes empathy through his suffering and authenticity despite being "just" a puppet. He also conveys the aspect of the rebel, the one who doesn't fit into the societal mold and resists imposed roles and limitations, a soul trapped in a body that isn't truly his—fighting against control, even unto death.  Kristián Sorokáč helps us envision that Petrushka can feel, love, and suffer, raising the question: if a puppet can surpass its mechanical role, why should a human being not be able to do so as well?

The Ballerina in Petrushka is also a compelling character that fits into specific archetypes. She plays a pivotal role in the emotional and narrative arc of the ballet, and like Petrushka, her role can be interpreted through different lenses. While the Ballerina does not act with malicious intent, her beauty and affection (which is initially directed at Petrushka but quickly shifts to the Moor) serve as catalysts for the tragic events that unfold. She represents an ideal of love that is unattainable for Petrushka, and her shifting affections are a driving force in his emotional turmoil and ultimate destruction. Sofia Bendovská portrays the role more as an innocent being than a muse. She is the object of Petrushka's (and the Moor's) desires. To both of them, she represents an idealized form of beauty and love, a passive symbol of what they both long for but cannot have. She is not malicious, but her behavior and romantic choices ignite the conflict between Petrushka and the Moor. In many ways, she remains unaware of the intensity of Petrushka's feelings or the larger tragedy playing out around her, a quality well-transmitted by Sofia Bendovská. As a "puppet of desire," she embodies the symbol of how individuals can be caught in societal or emotional forces beyond their control—almost as if she is a puppet in the drama too, playing a part without realizing the full impact of her actions on the other characters.

The Moor, interpreted by Dominik Lukáč, plays the role of the antagonist who overpowers or mocks Petrushka, often making the hero appear weak or foolish. The Moor is the object of Petrushka's jealousy and fury. He embodies the tyrannical force that defeats Petrushka's emotional desires, a role strongly underlined by Dominik Lukáč. While Petrushka fights for love, the Moor represents the harsh, unforgiving reality that crushes those who are weaker or less favored by fate. As the antagonist in the love triangle, the Moor becomes a symbol of the darker, more primal aspects of human nature: aggression, rivalry, and unrelenting passion, serving as the shadow to Petrushka’s character. While Petrushka is the emotional, spiritual figure, the Moor represents the raw, unfiltered aggression and desire that Petrushka cannot express. The Moor's primal instincts and physicality highlight what is repressed or denied in Petrushka’s nature—his inability to confront or act on his desires with force.

The Magician in Petrushka is the one who brings the puppets (Petrushka, the Ballerina, and the Moor) to life and sets them into motion. Vladimir Erištik's role as Magician is to direct their actions and fate, though they are unaware of their true nature. He manages to create a world in which the tragedy unfolds, controlling the interactions between the characters, yet remaining detached from the emotional turmoil he sets in motion. He is the master of manipulation, whose actions shape the destinies of those he controls. While his role is crucial to the performance, he remains a distant figure, an observer, much like a trickster who watches the consequences of his actions unfold without engaging directly in the drama. Like a deity, he has control over their fates, yet he is also detached and uninterested in their emotional experiences. His indifference to the suffering and emotional complexity of his creations brings out a deeper, darker layer to his role in the story, making us aware of often invisible forces that shape our lives—forces that can either guide or trap us. 

The sets and costumes designed by Peter Čanecký echo Benois’s original concept of merging Russian folk tradition with emotional symbolism. However, instead of the vibrant, bustling chaos of the Shrovetide Fair in St. Petersburg—an emblem of early 20th-century modernism—we are immersed in a metamodern “structure of feeling” that oscillates between tradition and innovation. In this reinterpretation, chairs become stepping stones in the characters’ journeys as well as lethal weapons, transforming everyday objects into symbolic extensions of conflict and transformation.

This aesthetic re-engages us with the meaning and authenticity of the story while maintaining a quiet self-awareness of the contemporary world. The Ballerina’s white tutu evokes memories of Romantic ballet, a nod to classical purity, while Petrushka’s comical trousers and iconic floppy, drooping cap—a hallmark of the tragic clown—enhance his pitiful, endearing presence, as if even his costume bears the weight of his sorrow. The well-composed black attire of the Magician resonated with the dark outfits of the women and men at the Shrovetide Fair, creating a striking contrast with the Moor’s brightly colored costume—the only one that seemed to be rooted in a distant past.

The dramaturgy of Petrushka, signed by Eva Gajdošová, played a pivotal role in shaping the emotional and narrative depth of the ballet. The careful blending of folk tradition with psychological complexity guided the audience through a journey that felt both timeless and strikingly modern. The dramaturgical choices not only highlighted the contrast between the external vibrancy of the carnival and the internal despair of the puppet characters but also crafted a dialogue between tradition and innovation. Through symbolic set design, expressive choreography, and subtle visual cues, the dramaturgy invited us to experience Petrushka's internal conflict, making the puppet's struggles deeply human and relatable. In doing so, it elevated the ballet into a reflective exploration of love, rejection, and the search for meaning—an emotional experience that speaks to us in the present, even as it echoes the past.

The Rite of Spring conceived as a ballet from the beginning—a radical, groundbreaking one

The Rite of Spring had its premiere in 1913 (music: Igor Stravinsky, choreography: Vaslav Nijinsky, scenario: Stravinsky and Nicholas Roerich) and was an original production for Ballets Russes in Théâtre des Champs-Élysées, Paris. The Rite was conceived as a ballet from the beginning—a radical, groundbreaking one. It depicted pagan rituals, culminating in the sacrificial dance of a chosen maiden. Stravinsky’s rhythmic complexity and Nijinsky’s revolutionary choreography made it one of the most shocking and influential dance premieres in history.

The Rite of Spring in the choreography of Hana Vidová

The Rite of Spring, in the choreography of Hana Vidová, is a testimony of the choreographic courage of carrying the fire from the past to redefine the future. 

“Igor Stravinsky drew the theme for his work from the mythology of the period in which pagan rites dominated Russian life. Every year, spring was ritually redeemed by a human life, and only in this way, according to superstition, could the fertility of earth be restored after winter. The content of the ballet is the pagan perception of the awakening of nature after winter sleep and the revival of human life thanks to the sacrifice of a chosen being. The old Seers sit in a semicircle and watch the dance of death of a young girl, whom they sacrificed to the god of spring to gain his favor. In this adaptation, however, her older sister takes fate into her own hands - she decides to sacrifice instead of her. This act transforms the story into a drama about the power of sisterly love, about choice and about who ultimately bears the burden of sacrifice.”

The Rite of Spring in the version of Hana Vidová is explicitly inspired by pagan rituals, particularly the idea of a sacrificial rite to ensure the renewal of the earth in springtime. Her choreography taps into themes that remain powerful today, such as the embodied ritual, where the dancers' movements are grounded, percussive, and communal—evoking ancient tribal dances: joy combined with danger, fear combined with sacrifice. Even if we may not perform these rites today, we recognize their power, feel the pulse, the collective emotional force in the dance, as if recalling something stored deep in the collective unconscious. The theme of the Chosen One sacrificing herself is archetypal. It echoes timeless questions: What must we give up for change to occur? What is the cost of survival or progress? These questions still matter, even if we no longer hold literal sacrificial ceremonies. How do we reconnect with natural rhythms in an over-technologized world? 

How do pagan rites still resonate with us today through music and movement?

Even though these ballets were created in the early 20th century, they still speak to us because they touch on archetypal experiences: love, power, sacrifice, fate, community, death, and the yearning for transcendence. Petrushka’s ghost appearing at the end—mocking or mourning—evokes the idea that the spirit lives on, that emotional truth cannot be killed. This recalls ancient beliefs in the soul's immortality and the thin veil between the worlds during festival times.

The premiere of Stravinsky´s Petruska and The Rite of Spring in Sluk Theatre, Bratislava, stirred something deeper in us and reminded us that beneath our modern lives, these old rites still pulse within all of us. Do we understand them well enough so that we can “hear” them properly? Or do we “hear” them before we even try to understand?

What is a demonstration of education as a collaborative process between teaching and learning, highlighting the subtle bond between what the teacher intends and what the student understands?

A demonstration of education as a collaborative process between teaching and learning highlights that teaching is not a one-way transfer of knowledge but a shared, dynamic exchange. The teacher offers knowledge, guidance, and inspiration, but how it is received, interpreted, and embodied by the student depends on many factors: individual experience, sensitivity, creativity, and interpretation. The “subtle bond” refers to this invisible thread that connects intention and reception—what the teacher hopes to convey and how the student understands and transforms it. In the context of choreography and dance, this bond becomes visible and poetic: a professor (like Igor Holováč with Petrushka) may create with certain meanings and intentions in mind, grounded in tradition or his philosophy. A disciple (like Hana Vidová with The Rite of Spring) takes those teachings and builds upon them—adding her vision, adapting it to new contexts, perhaps challenging or reinterpreting it.
The performance becomes a living manifestation of this process. It shows how knowledge evolves when passed on. It honors the mentor’s foundation while also giving space for the student’s originality. It affirms that true education is not replication but interpretation and transformation. In this performance, the dialogue between Igor Holováč and Vidová’s works—subtle, respectful, and distinct—illustrates that learning is not about becoming a copy but a continuation. It’s a beautiful testament to how education lives through mutual trust, layered understanding, and artistic courage.

Both Petrushka and The Rite of Spring exemplify how the classical ballet language can be used not as a limitation, but as a flexible and expressive tool to enrich the artistic range of traditional dance companies.

In Petrushka, Igor Holováč infused the classical structure with character-driven movement, drawing from expressive ballet technique while integrating elements of mime and stylized folk gestures. His approach respected the roots of the traditional ballet idiom while expanding it to embrace storytelling that touches on modern themes like identity, manipulation, and resistance. The result was a fresh interpretation that felt both familiar and newly relevant.

In The Rite of Spring, Hana Vidová pushed the movement vocabulary further, blending academic ballet precision with raw, grounded physicality more commonly found in contemporary or even ritual-based dance forms. By doing so, she challenged both the dancers and the audience to experience ballet as something visceral, collective, and elemental—in perfect resonance with Stravinsky’s primal score. Her work expanded the notion of what ballet companies can perform, moving beyond classical narratives to include existential, ritualistic, and emotionally intense content.

Nurturing local talent

This production revealed how the innovative use of dance language can serve as both a bridge to tradition and a path toward evolution—expanding the expressive repertory of traditional dance companies, including the classical ballet education roots of their dancers. At the same time, it demonstrated the importance of nurturing local talent, providing space for emerging choreographers to develop their artistic voices. Igor Holováč’s and Hana Vidová’s works, while distinct, both drew from universal cultural themes—love, sacrifice, identity, transformation—and translated them into deeply personal choreographic interpretations. In doing so, they showed they could articulate their unique perspectives shaped by both mentorship and cultural inheritance. This creative dialogue between tradition and innovation affirms the power of education, collaboration, and local authorship in shaping a vibrant, future-facing dance landscape. Together, the two choreographies demonstrated how traditional dance companies can evolve, not by abandoning their roots but by reinterpreting them—transforming inherited forms into powerful vehicles for present-day expression.

The cast: April 5th, 2025

Petrushka

Set and costumes: Peter Čanecký

Dramaturgy: Eva Gajdošová

Lighting design: Igor Holováč

Choreography and direction: Igor Holováč

Petruska: Kristián Sorokáč 

Magician: Vladimir Erištik 

Ballerina: Sofia Benkovská

Maur: Dominik Lukáč 

Ladies: Dorota Bystrianska

 Lenka Gondová

 Ema Jirku

 Kristýna Krepelková 

Gentlemen:

Matús Kotul'ak

Matej Oskera

The Rite of Spring

Choreography and direction: Hana Vidová

Lighting design: Hana Vidová

Saman: Kristián Sorokáč  

Sacrifice: Viktória Purdeková

Sister: Zuzana Demcáková

Friend: Dominik Lukáč 

Ladies:

Kristína Bazányová

Kristína Cicáková

Lucia Halamová

Veronika Lenártová

Pavlína Sojáková

Gentlemen:

Samuel Matas

Jakub Serence

Adrián Skácel

Adam Sobol

Matej Oskera

Honoring Dijana Momirovic: Celebrating Ballet in Kuwait and Her Fanny Elssler Trophy Triumph

Marianne Berlakovich (Austria) and Dijana Momirovic (Kuwait)

Ballet in Kuwait faces several challenges due to cultural, social, and logistical factors. Here are some key reasons why practicing and performing ballet in Kuwait can be difficult:

1. Cultural and Religious Constraints

• Kuwait is a conservative society with strong Islamic traditions, and certain forms of dance, especially those involving tight costumes and expressive movement, can be seen as inappropriate.

• Public performances of ballet, particularly by female dancers, may be restricted due to modesty norms and cultural sensitivities.

• Mixed-gender performances may also face challenges due to conservative views on gender interaction in public spaces.

2. Limited Infrastructure and Support

• Unlike in Western countries, Kuwait lacks well-established ballet academies, professional companies, and dedicated performance spaces for classical ballet.

• There are few opportunities for advanced training and professional growth, which makes it difficult for dancers to pursue a long-term career in ballet.

3. Educational and Career Barriers

• Dance is not widely integrated into the national education system, meaning that young dancers often have to rely on private studios, which can be expensive.

• There are limited local career opportunities in ballet, forcing serious dancers to move abroad to further their education and professional aspirations.

4. Social Perceptions and Acceptance

• Dance, particularly ballet, is often seen more as a hobby rather than a viable career path in Kuwaiti society.

• Families may discourage children, especially girls, from pursuing ballet due to concerns about future job prospects and societal expectations.

5. Restrictions on Public Entertainment

• Government regulations can make it difficult to organize and promote ballet performances.

• Obtaining permits for performances and adhering to guidelines regarding dress codes and choreography can be a challenge for ballet schools and dancers.

6. Lack of Representation and Role Models

• Since there are no well-known Kuwaiti ballet dancers or local professional companies, there is little visibility and inspiration for aspiring dancers.

• The absence of role models makes it harder for young talents to see ballet as a realistic path.

While ballet does exist in Kuwait through private schools and expatriate communities, it faces significant hurdles due to cultural conservatism, limited infrastructure, and societal perceptions. However, interest in ballet is growing, and some private initiatives continue to nurture a small but dedicated ballet community.

7. Dijana Momorovic’s journey in promoting ballet in Kuwait is a testament to the passion, perseverance, and the transformative power of art.

Her unwavering commitment to nurturing young talent, breaking barriers, and elevating ballet in a region where classical dance faces unique challenges has not only inspired a new generation of dancers but has also left an indelible mark on the cultural landscape of Kuwait.

Winning the prestigious Fanny Elssler Trophy for her social engagement is a well-deserved recognition of her efforts to bring ballet into the hearts and lives of many. Through her dedication, she has not only built a bridge between tradition and artistic expression but has also empowered young dancers to embrace discipline, elegance, and the boundless possibilities of movement.

Dijana’s work reminds us that art transcends limitations—that ballet, with its timeless beauty, can thrive anywhere when guided by a visionary spirit. Her story is one of resilience, inspiration, and a profound belief in the power of dance to unite, uplift, and transform lives. As we celebrate her achievements, we look forward to a future where ballet in Kuwait continues to flourish, carrying forward the legacy of grace she has so passionately cultivated.

#DijanaMomorovic #FannyElsslerTrophy #BalletInKuwait #HonoringExcellence #BalletForAll #DanceInspiration #GraceAndPassion #BalletCulture #ArtWithoutBorders #BalletLegacy #KuwaitArts #BalletCommunity #InspiringGenerations #EleganceInMotion #BreakingBarriers #BalletForChange

Celebrating Ana Pavlovic: A Guiding Light at the European Ballet Grand Prix 2025

Ana Pavlovic@National Theater Belgrade

ANA PAVLOVIC

The 8th edition of the European Ballet Grand Prix in Vienna 2025 is set to be a grand celebration of talent, discipline, and artistry. This prestigious competition and audition not only bring together some of the most promising young dancers but also serves as a gathering of esteemed professionals who shape the future of ballet. Among them, Ana Pavlovic, the Artistic Director of the National Theatre Belgrade, Serbia, stands out as a beacon of inspiration for the competitors and the ballet world.

A former ballerina herself, Ana Pavlovic embodies a unique perspective that few artistic directors can claim. Having graced the stage with the same passion and dedication required of today’s dancers, she brings unparalleled understanding to her role. For a ballet company, having a leader who has lived the art firsthand is an invaluable asset. She knows the struggles, the triumphs, and the endless pursuit of perfection that define a dancer’s journey. Her leadership at the National Theatre Belgrade is a testament to the power of experience in shaping a ballet company’s vision and success.

What truly sets Ana Pavlovic apart is her remarkable ability to balance empathy with the demand for high performance. She nurtures dancers with the wisdom of someone who has walked in their shoes, yet she never wavers in her pursuit of excellence. This rare combination of understanding and rigor is what transforms good dancers into great artists. In a world where artistic directors often focus solely on results, Ana’s approach ensures that dancers not only meet technical standards but also grow as expressive and emotionally connected performers.

Beyond her expertise, Ana Pavlovic exemplifies the truth that learning never stops—even for directors. Her presence at the European Ballet Grand Prix is a testament to the ever-evolving nature of ballet. She continuously seeks to refine her vision, absorb new influences, and contribute to the art form’s progress. By engaging with young talents, fellow directors, and industry professionals, she reinforces the idea that true mastery is an ongoing journey.

The European Ballet Grand Prix 2025 is privileged to have Ana Pavlovic as part of this year’s event. Her insight, experience, and unwavering commitment to the art of ballet enrich the competition in immeasurable ways. Her presence not only honors the competitors but also serves as a reminder that ballet is a living, breathing art form—one that thrives under the guidance of those who truly understand its essence.

As we celebrate this year’s edition of the European Ballet Grand Prix, we acknowledge the significance of Ana Pavlovic’s participation and the inspiration she provides to dancers and artistic leaders alike. Her journey, her leadership, and her dedication to both the art and the artists make her a figure worth honoring in the world of ballet.

#AnaPavlovic #Ballet #EuropeanBalletGrandPrix #BalletCompetition #BalletAudition #NationalTheatreBelgrade #BalletDirector #DanceArtistry #BalletLife #BalletMastery #BalletLovers #ViennaBallet #BalletInspiration #DanceExcellence #BalletCommunity #SimonaNojaNebyla #FrancescoGrillo

Inspired by Plato: Patterns, Eternal Truth, and Boris Nebyla’s Ballet Vision

Ballet Class of Boris Nebyla, a pathway toward an ultimate artistic and aesthetic truth

The connection between ballet and philosophy might not seem obvious at first, but when viewed through the lens of Plato’s Theory of Forms, it becomes clear that both disciplines share a fundamental pursuit: the quest for an ideal truth beyond physical imperfections. Boris Nebyla, a renowned ballet master, embodies this vision in his teaching, where movements are not just technical exercises but a pathway toward an ultimate artistic and aesthetic truth.

Plato’s Forms and the Ideal Ballet Technique

Plato believed that everything in the material world is a mere imperfect copy of a higher, unchanging reality of Forms. Just as a physical chair is an incomplete manifestation of the perfect, immaterial Form of "chairness," every ballet movement performed in class is a reflection of an ideal execution that exists beyond any single dancer’s ability.

Nebyla’s ballet instruction mirrors this idea: he does not teach mere mechanical steps but guides dancers toward a perfect, yet unreachable essence of movement. The pirouette, the arabesque, the grand jeté—each of these exists in its purest form beyond any single performance, and the dancer’s task is to strive toward that perfection.

The Role of the Ballet Master: A Philosopher in Dance

In Plato’s philosophy, the role of the philosopher is to lead others toward the truth—to help them see beyond shadows and illusions. Similarly, Boris Nebyla acts as a philosophical guide in ballet, directing his students beyond superficial execution toward a deeper understanding of the patterns and principles underlying classical dance. Through rigorous correction, repetition, and refinement, he encourages dancers to go beyond muscle memory and connect with the essence of movement itself.

Patterns as the Key to Ultimate Truth

Plato taught that knowledge comes from recognizing eternal patterns that structure reality. Ballet, too, is built on a precise system of geometric and rhythmic patterns. From the turnout of the feet to the symmetrical structure of a choreographic sequence, ballet relies on a set of fundamental principles that, when understood and embodied, elevate mere movement into artistic truth.

In Nebyla’s ballet class, dancers do not simply mimic steps—they learn to recognize and internalize these patterns, refining their movements toward a greater harmony that mirrors Plato’s idea of universal beauty and order. The dancer who achieves the closest approximation of these patterns experiences a moment of transcendence, where physicality and philosophy merge.

The Dance of Forms: Ballet as a Philosophical Journey

In Plato’s famous Allegory of the Cave, prisoners mistake shadows for reality until they are guided toward the light of true knowledge. Likewise, a beginner in ballet may focus on superficial steps, but under the guidance of a master like Nebyla, they come to see beyond individual movements to the deeper structures of classical technique. The ultimate goal is not just technical mastery, but the pursuit of an artistic ideal that is as timeless as Plato’s Forms.

Thus, Boris Nebyla’s vision for ballet is more than just a method of teaching—it is a philosophical journey. In every class, dancers engage in a pursuit akin to the philosopher’s quest: reaching beyond the physical world, guided by patterns, discipline, and an eternal striving toward beauty. In this way, ballet becomes not just an art, but a profound reflection of Plato’s ultimate truth.

#borisnebyla #francescogrillo #ebgp #simonanojanebyla

Join us for an exclusive interview with Simona Noja-Nebyla, Founder and Director of EBGP Vienna, and her special guest, Hana Kosaki, CEO of Unblanché, Tokyo, Japan!

Exclusive interview

Welcome to the electrifying world of ballet competition and audition! We are here at the EBGP, one of the prestigious ballet competitions in Europe, where young and talented dancers from around the globe come to showcase their artistry, technique, and passion. But beyond the stunning pirouettes and breathtaking leaps, what really goes on behind the scenes? What does it take to compete at this level?

Today, we go beyond the stage and come closer to the “why” competitions are cherished. In this exclusive interview Simona Noja-Nebyla, Founder and Director of EBGP Vienna sits down with Hana Kosaki, CEO of Unblanché, Tokyo, Japan, juror at the 8th edition of the EBGP Competition and Audition in Vienna to discuss the evolving landscape of ballet competitions, the importance of an open mindset, and the future of young dancers in the industry.

Hana Kosaki, a ballet teacher and mentor, believes that competitions help with self-evaluation by allowing dancers to test their abilities in front of different audiences. In Japan, ballet training is offered exclusively through private schools. Unlike European ballet schools, they do not have standardized exams. As a result, “going out of their bubble”, and undergoing an evaluation provides significant benefits, helping dancers assess their progress and refine their skills.

touch their hearts when they perform

Also, having the opportunity to perform on stage more than just once a year, as is common in Japan, is important for students. It allows them to truly "touch their hearts when they perform."

testing what works and what doesn’t is essential to becoming a better dancer

She explains, "It is important to step outside your own country because different cultures, audiences, and reactions shape your growth. You must understand that your dance cannot always remain the same. Testing what works and what doesn’t is essential to becoming a better dancer."

they become so open-minded… it is life-changing for them

It is surprising how the overall experience of a competition— including flights, travel, and everything involved—has such a strong impact on them. They become more open-minded, and in the end, I have noticed that it is a truly life-changing experience.

It has to be the full package to become a good dancer

All of this broadens their horizons, not only as ballet dancers but also as human beings—something we sometimes forget. "IIt has to be the full package to become a good dancer." In the end, it’s not just about technique but about the heart you put into it, and that is what truly touches the audience, Hana believes.

the reasons why classical ballets were created the way they were

When asked if she could change something in the ballet world, Hana expresses her strong belief in tradition and the reasons why classical ballets were created the way they were. However, she would love to create more work opportunities for ballet dancers, especially in Japan.

What makes EBGP different than other competitions?

Beyond the numerous opportunities to be seen, earn scholarships, and receive awards, what truly matters is your belief in the art form—your deep appreciation for ballet as something more than mere spectacle, but as a profound expression of artistry and passion.

Hana Kosaki: "I believe EBGP stands for a competition that truly values and celebrates the art of ballet!"

Thank you!

Key Themes from the Interview of Hana Kosaki at EBGP 2025

1. The Significance of Ballet Competitions

   • Competitions provide young dancers with a platform to showcase their artistry, technique, and passion.

   • Beyond the performances, competitions offer valuable experiences that shape dancers’ growth.

2. Self-Evaluation and Growth Through Competition

   • Hana Kosaki emphasizes the importance of competition in self-assessment.

   • In Japan, without standardized exams in ballet schools, international competitions serve as key evaluation opportunities.

3. Stepping Beyond Comfort Zones

   • Exposure to different cultures, audiences, and feedback is crucial for development.

   • Testing what works and what doesn’t helps dancers refine their skills and artistic expression.

4. The Transformative Power of the Experience

   • Travel, performances, and the competitive environment open dancers' minds.

   • Many find the experience life-changing, broadening their perspectives beyond ballet.

5. The Importance of Stage Experience

   • Performing more than once a year is essential for artistic and emotional growth.

   • True artistry comes from touching hearts through performance.

6. The Full Package: Technique and Emotion

   • Becoming a great dancer requires more than technical skills—it demands emotional depth.

   • The connection between dancer and audience is what truly makes a performance memorable.

7. Honoring Tradition While Expanding Opportunities

   • Hana Kosaki believes in the importance of preserving classical ballet’s traditions.

   • She advocates for creating more work opportunities for ballet dancers, particularly in Japan.

8. What Sets EBGP Apart?

   • EBGP provides not just recognition but a space for genuine artistic appreciation.

   • It is a competition that values ballet as an art form, not just a spectacle.

9. A Motto for EBGP

   • "I believe EBGP stands for a competition that truly values and celebrates the art of ballet!" – Hana Kosaki.