Youth America Grand Prix International Dance Festival: Changing the World of Dance
"Ah, Velma... Things ain't what they used to be!" laments Mama Morton, the famous character from "Chicago," one of the most celebrated musicals of our time. Ironically, the words uttered by a motherly jail keeper in the 1930s could not better describe the world of dance in 2007.
Things certainly have changed. Instead of picking up a phone to catch up with a friend, we text from our omnipotent PDAs. Youngsters log on to YouTube.com from their cell phones to get a glimpse of Sylvie Guillem, while watching videotapes at the Library for the Performing Arts seems to have stayed in the 20th century. Today's techno-savvy producers prefer color photos, videos and resumes sent via e-mail to the traditional 8x10 black-and-white photographs with stapled resumes.
Of all the changes that have occurred in the 21st century dance, perhaps the most significant is the change in how young dancers approach their dream of a professional dance career. While it is still a matter of whom you know and who knows you, exactly how that connection is made has changed dramatically. This article will take an inside look at an organization that has revolutionized the process of professional development for young dancers everywhere.
When Larissa and Gennadi Saveliev launched Youth America Grand Prix in 1999, they had no idea that in 2007 it will become the largest student scholarship ballet competition in the world with an operating budget of over $1 million, offices in 4 countries outside the U.S., and $200,000 in annual scholarships to virtually every major dance academy in the world.
"Our biggest initial challenge - and our biggest achievement to date - was to completely change the American mentality and break through the wall of prejudice against competitions among serious, major ballet schools," says the Founder and Artistic Director of YAGP, Larissa Saveliev. "In 1999, participating in competitions was synonymous with being a less-than-serious ballet institution. In fact, parents of ballet students would call the ballet schools to make sure they do not do competitions before enrolling their children there."
"Now these same schools hold internal selective rounds to determine which students deserve to represent their school at YAGP - and they schedule their spring performances so as not to conflict with our regional semi-finals in their area and our NYC Finals. Also, several other student ballet competitions recently cropped up in the U.S. using YAGP as a model. We must have done something right," laughs Larissa. "Imitation is the highest form of flattery."
How did YAGP manage to change the attitude in the U.S. towards competitions? Larissa puts it succinctly: "We promised as many talented students as we could find that they will be seen by the directors of top dance schools; we promised directors of the top ballet schools that they will see some of the best young dancers in the U.S. - and then we delivered both."
If this seems simple, it was not. Larissa remembers getting on a plane from New York to Florida after two months of unsuccessful attempts to convince The Harid Conservatory to participate in YAGP. "Gordon [Wright, Director of The Harid Conservatory] was absolutely right not to want to take a meeting with me regarding a competition - because the only frame of reference he had was that of jazz conventions. So I came into his office and just sat there until he finally saw me." By the time the meeting was over, The Harid Conservatory had not only made an unprecedented decision to send its students to the YAGP competition, but also offered to host the Florida semi-finals and to become one of the scholarship presenters. Eight years later, YAGP continues to have a strong relationship with the Conservatory, which consistently produces outstanding students and annually offers scholarships to YAGP participants.
Besides scholarships to leading dance schools worldwide, there is another major ingredient in YAGP's recipe for success. The annually sold-out YAGP Gala at New York City Center featuring international ballet stars and the finalists of the competition has become one of New York ballet season's most anticipated events. Attended by dance luminaries from around the world, last year alone it attracted the Artistic Directors of New York City Ballet, American Ballet Theatre, Bolshoi Ballet, and the Swedish Royal Ballet. Other notable audience members in past have included Natalia Makarova, Brigitte Lefevre, Judith Jamison, and a host of dance critics annually flying in from Japan, Europe, Latin America, and Canada just to get a glimpse of the future of ballet.
Of course, a major draw to the YAGP Gala is a chance to see some of the most talented young dancers from around the globe. Another important reason why the Gala is so popular is that it offers a chance to see something new and unusual - whether it is an unexpected pairing of dancers, an opportunity to see the works of up-and-coming new choreographers, the excitement of discovering international rising stars, or the privilege of seeing dancers and choreography not often seen in New York.
For the upcoming Gala on April 30, 2007 at NY City Center the organizers have pulled out all stops. Paris Opera Ballet mega-stars, Aurelie Dupont and Manuel Legris, will sparkle in a much-anticipated New York appearance, courtesy of the American Friends of Paris Opera and Ballet. The Royal Ballet principal dancers, Marianela Nunez and Thiago Soarez, as well as Stuttgart Ballet's hottest principals, Alicia Amatriain and Jason Reilly, will make their New York debut. Benjamin Millepied will present a piece d'occasion for a YAGP alumna Isabella Boylston and ABT Principal David Hallberg - and this is just a taste of the many surprises awaiting the YAGP 2007 Gala audience.
While for most participants and attendees the YAGP Gala is an unforgettable celebration of dance, for some it is a life-changing experience - as it was for Sarah Lane, a YAGP 2002 Bronze medalist who performed in the YAGP Gala at Lincoln Center's Alice Tully Hall. Some 20 seconds into her Paquita variation, the unthinkable happened - the tape got chewed beyond repair. Unflustered, she continued dancing in silence while the entire audience sang the music till the end.
Previously overlooked at ABT company auditions because of her height (only 5'2"), that evening Sarah proved that she can hold her own on stage no matter what - and immediately after the perform ance she was invited to take company class, joining ABT Studio Company soon after that. "It was an amazing experience," says Sarah, who is now dancing with the main company of ABT and has since appeared in the YAGP Gala as a professional guest artist. "I was very nervous at first, but then the nervousness melted away and I just enjoyed dancing on stage. I actually remember spotting Ethan Stiefel, who was standing in the first wing as I was doing the final diagonal."
As it turned out, Sarah's performance at the YAGP Gala did not only have a profound effect on her own career, but also affected a fellow ABT artist. Gillian Murphy, who happened to observe Sarah's triumphant performance that night, recalls being inspired by it when she found herself in similar circumstances some months later during an ABT season at the Met: "Jose [Carreno] and I were dancing the White Swan pas de deux - which is one of the quietest and the most poignant moments in the ballet - when an unruly audience member started screaming and shrieking in one of the boxes. We, of course, continued dancing - and I actually remember thinking about that girl at the YAGP Gala who held herself together so admirably when she was in the same situation. And moments like these are why I love being a part of YAGP, because there is such an amazing exchange of energy between the performers. We, as professional artists, get inspired by these kids."
And this, perhaps, is the ultimate goal of the founders of Youth America Grand Prix: to provide inspiration and an extraordinary dance experience not only for its young participants, but for everyone involved - be it professional dance artists, company or school directors, parents, teachers, people in the audience, donors, Board members, even YAGP staff. "YAGP is so much more than a competition, which is only a small part of our organization," says Larissa. "It is an international festival of dance, a living and breathing organism, a global network that keeps working throughout the year, connecting dancers, students, festivals, companies, and schools worldwide."
For more information about YAGP visit the website at www.yagp.org. YAGP 2007 Gala tickets are available through CityTix(R) at 212.581.1212 or via NY City Center's website at www.nycitycenter.org