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Academy Students 2008-2009
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A physical assesment is made of each applicant to determine range of motion
of major joints in the body; examines structure of head/neck, spine, legs, and
feet; and considers at percentage of body fat and reviews eating, sleeping,
exercise and health aspects of the child and his/her environment.

Should the child be selected for the Lower School, they will receive a review
of this assessment with recommendations for how their environmental
circumstances might be enhanced to better support study of classical ballet.

Classical ballet technique is one of the most rigorous disciplines for the
physical body. The basic stance in ballet has the legs rotated outward from the
center - called turn out. This allows full freedom of movement, but also
utilizes the smaller muscles of the body. The larger the muscle, the slower it
works, so in dancing and other physical disciplines that require accuracy and
speed of movement, more efficient use of the smaller muscles will produce a
better result. Some people have natural turnout, others not. In the case of a
child with no ability to move in this way, ballet is not appropriate to pursue.

The feet in ballet must be very strong but also aesthetically shaped. Again, a
naturally strong and beautiful foot is very important for classical ballet. Margot
Fonteyn did not have "ballet feet" per se, for they lacked the extreme flexibility
that makes a foot more visually impressive. Nevertheless, she became the
most famous ballerina of all time, but this was due to hard work, and always
working with acknowledgement of her assets and limitations. In the physical
examination, the child's feet will be considered. There are some natural shapes
of feet that preclude dancing in classical ballet, but are not prohibitive of a
career in modern, jazz or show dancing.

The spine, and the natural musculature of the back and neck are also
examined. To dance well one must have strength, flexibility and a naturally
good carriage. There have been many ballet dancers with mild or moderate
spine curvature (scoliosis), but they have to work in specific ways so that they
do not injure themselves. Those with spine disorders that prohibit ballet
dancing will have that explained to them, and while they might not be able to
join the Academy, they will be able to enter into some of the other programs
offered in the Public Ballet division of the Academy.

Finally, the legs and arms are of vital importance as extensions of the torso,
where all movement originates. Problems such as hyper-extension of the legs,
double jointedness, bowed legs, knock knees, etc., must be addressed. Even
in extreme cases some of these conditions are workable for ballet dancers,
but there is a very specific way one must work to compensate. These children,
if they meet the other requirements for entry, may have to have private
classwork in addition to their normal Academy schedule for the first year, or
for as long as it takes to develop the muscles and awareness necessary to
dance properly given their physical make up.