Absorption and embedding: on the application of the ballet training paradigm in Chinese ethnic dance curriculum

ABSTRACT

This article discusses the necessity and possibilities of introducing ballet training into the process of teaching Chinese ethnic dance from theoretical and practical perspectives involving pedagogical analysis. We propose that there is a homologous and complementary relationship between ballet and Chinese ethnic dance in philosophy, aesthetic and technical goals, and desired outcomes. At the practical level, ballet, as a relatively mature, complete, and systematic dance training paradigm, plays and can further play a positive role in the traditional paradigm for teaching Chinese ethnic dance. The paper proposes several possible ways of the ‘absorption’ and ‘embedding’ of ballet training into the basic training of Chinese ethnic dance, which includes strengthening basic training in an appropriate manner. These combinations enhance dancers’ physical coordination ability and technical skills, and they instill artistic values.

KEYWORDS:

• Ballet training
• Chinese ethnic dance training
• absorption
• embedding
• basic training
• technical skills

Disclosure statement

No potential conflict of interest was reported by the author(s).

Supplementary material

Supplemental data for this article can be accessed online at https://doi.org/10.1080/14647893.2022.2071857

Notes

1. Here tiptoe techniques refer to pointe work using pointe shoes. Specifically, it is an important part of classic ballet techniques, in which the dancer rely on tiptoes in the upright position to support his or her body, or simply use tiptoes in the upright position to touch the ground.

2. We did so via surveys and in-depth, semi-structured interviews on teachers and administrative staff in these institutions based on snowball sampling. In supplement, we also conducted documentary analysis on the program plans in these institutions. Such institutions include Minzu University of China, the Ethnic Dance and Folk Dance Department of the Beijing Dance Academy, the School of Arts and Media of Beijing Normal University, and the dance department of the music college of Capital Normal University.

3. We would like to acknowledge that the abovementioned ideas of how to form a dancer’s body and technique is based upon a normative assumption of what a body does and how it can move, while there are obviously diverse types of bodies, which includes that of dancers with disabilities, who may have different types of ways of moving and form.

4. For methods, see footnote 1.

5. In a slightly different manner, Deighan divided stretches into statist stretch which let a muscle or group of muscles to be held to the farthest position for some time, ballistic stretch which uses the momentum of a moving body or a limb to force it beyond its normal range of motion, and proprioceptive neuromuscular facilitation (2005). There are other different ways to categorize stretching, see: https://web.mit.edu/tkd/stretch/stretching_4.html#SEC33. Here, for the purpose of this paper, a rough categorization of dynamic and static is useful enough.

Additional information

Notes on contributors

Yike Zhang

Yike Zhang is an associate professor at the Teaching and Research Unit of Basic Skills, Minzu University of China College of Dance. She is currently a Ph. D. candidate at Minzu University of China College of Dance, and was also a visiting scholar at Tisch School, New York University. Her research interests include art of Chinese ethnic minority groups, ballet training and education, and the theory and practice of ethnic dance education. She has a 22-year experience of ballet teaching, and has published in influential dance studies journals represented by Journal of Beijing Dance Academy and Journal of Dance.

Cherylyn Lavagnino

Cherylyn Lavagnino (Artistic Director/Choreographer) has an MFA in Dance from Tisch, NYU, (Chair from 2006-2014). Lavagnino toured nationally and internationally with several ballet companies. She performed a range of classical repertoire and contemporary work by choreographers including Balanchine, John Butler, Hans Van Manen, and Tere O’Connor. Lavagnino’s choreography has been presented: by Danspace Project, Dance Theater Workshop, Symphony Space, Jacob’s Pillow, The Yard, Kaatsban International Dance Center, Indianapolis City Ballet, Intermezzo Dance, and The Joyce Theatre. Ms. Lavagnino is an Alpert Award nominee for choreography. She received grants from the Rockefeller Brothers Fund, the O’Donnell-Green Foundation, American Music Center and Harkness Foundation.

Yunxia Ma

Yunxia Ma is a professor Dean of Minzu University of China school of Dance. She is a doctoral supervisor at the Minzu University of China school of Dance. Her research interests include art of Chinese ethnic minority groups, dance performanc, dance training and education, and the theory and practice of ethnic dance education. She has a 36-year experience of dance teaching, and has published in influential dance studies journals represented by Journal of Beijing Dance Academy and Journal of Yunnan Arts University.