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Published: October 29th 2015
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When you're a dancer, travelling is so much more than sightseeing and tasting the local cuisine. It's an opportunity to take a dance class from a new teacher, in a new city, and even in a new language. The great thing about movement is that it's universal. Although each class is unique, a ballet class is a ballet class no matter what country you happen to be in. And even in less traditional styles of dance, you don't have to understand the words given to the movement to be able to learn it. So, naturally, ever since I first came to Paris as an adult in 2011, I've been sure to taste the local dance cuisine.
Like every city, Paris is known by the international dance community for a selection of great studios to try while you're in town. Yes, these are conversations we have in the dressing room. More often than you might imagine. When you visit Paris, your dance colleagues will tell you to try out Studio Harmonic and Studio du Marais. I took class at Studio Harmonic in 2011, and by far the most entertaining course was taught by Wayne Byars. He is the best
known ballet teacher there, and offers an advanced ballet class Monday-Friday at 11am and 2pm. The great thing about Wayne, what really stood out, was honestly not the class itself. It was your classic great ballet class: challenging, fun, and packed with inspiring dancers. No, what I remember most was the way Wayne spoke. He has lived in France for decades, and speaks grammatically flawless French. But he speaks in a 100% AMERICAN ACCENT. Like, he doesn't even try. AT ALL. I suppose the students find it endearing, but I personally found it hilarious. I spent most of the class trying not to explode with laughter.
As for the Studio du Marais, I have spent a substantial amount of time taking class there. In 2012, Maggie Boogaart, a Graham teacher at the Studio du Marais, came to the University of Michigan and taught several classes during our Spring Term. As it turns out, our resident Graham teacher, the infamous Peter Sparling, met her in Paris and insisted on bringing her to the states. After taking her classes at the university, I promptly decided to come to Paris that summer for her workshop, which is led jointly with
her husband Ghislain, who teaches Balanchine technique. Having had such a good time with the workshop, when I returned to Paris this year, the Studio du Marais was the first place I went to take class. I still go every Friday morning, depending on what time I wake up, and take either both Maggie's and Ghislain's class, or just Ghislain's. They're good teachers, with a lot of experience. However, their training leaves something to be desired. I've never really been a fan of Graham technique (it hurts my hips), and although Balanchine is a fun challenge, I'm really a Vaganova girl.
Luckily for me, Vaganova technique is never very far away. At the Cité Veron, which is adorably located directly to the left of the Moulin Rouge if you are facing it, there is an old Russian teacher named André Glegoski. He has taught all over Europe, but has been in Paris for the past several decades, as far as I can tell. If you're looking for a great ballet class, an old Russian teacher is usually a good indicator. But when I stepped into this class for the first time, I knew I had found something
special. Mr. Glegoski is quite old, and no longer stands to teach. He tells us the exercises, speaking French with a thick Russian accent. For the barre, he uses his hands. In the center, his most advanced students take on the task of demonstrating. Despite his physical limitations, Mr. Glegoski's class is always packed. Like, many dancers use empty sections of wall for barre, packed. Because although Mr. Glegoski no longer moves, he sees everything. After the first time I took his class, he pulled me aside and pulled out my two worst habits as a dancer: overuse of my quads, and sinking in my thoracic spine, thus pulling my weight back.
I am usually the youngest in the class, with maybe one or two other dancers, but the next age group is several decades our elder. And decade seems to be the standard loyalty rating for Mr. Glegoski's students. Most have been with him for more than 10 years, before and after professional and teaching careers. Although there are routinely 30 students in the class, he knows each and every student by name. The eldest in the class must be in their mid-70s, about the age of Glegoski himself. It is clear that Mr. Glegoski is nearing the end of his life, and that his students will stay with him until the end. After what for some of them must be 30 years of class with Mr. Glegoski, he still gets an ovation at the end of every class. It is of course customary to applaud the teacher at the end of a dance class, but Mr. Glegoski receives a tribute akin to what I witnessed at the Paris Opera Ballet this weekend. He gives so much energy and love for the art form as he teachers, it's the least we can do to work our hardest and clap our loudest every Saturday and Sunday.
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Leah
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Dance dance dance
Kyra, I'm so happy you found places to dance in Paris that are both challenging and enjoyable. I can't wait to see how your time there will shape your form. Enjoy it for me!