I Am A Ballerina

A little girl invites us into her ballet class, and later performs onstage (gulp!) in her first recital. Young readers will enjoy seeing what happens in a class, and young ballerinas will see themselves in this book.

An irresistible and determined ballerina shows readers how to reach for their dreams.

The story of a girl's first trip to the ballet and the dreams it inspired; leading her to become a legendary ballerina.

A young girl describes her life and her experiences studying to become a professional ballet dancer.

“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.

A lyrical picture book biography of Janet Collins, the first African American principal dancer at the Metropolitan Opera House. Janet Collins wanted to be a ballerina in the 1930s and 40s, a time when racial segregation was widespread in the United States. Janet pursued dance with a passion, despite being rejected from discriminatory dance schools. When she was accepted into the Ballet Russe de Monte Carlo as a teenager on the condition that she paint her skin white for performances, Janet refused. She continued to go after her dreams, never compromising her values along the way. From her early childhood lessons to the height of her success as the first African American prima ballerina in the Metropolitan Opera, Brave Ballerina is the story of a remarkable pioneer as told by Michelle Meadows, with fantastic illustrations from Ebony Glenn.

Throughout her history, the ballerina has been perceived as the embodiment of beauty and perfection--the feminine ideal. But the reality is another story. From the earliest ballerinas in the 17th century--who often led double lives as concubines--through the poverty of the corps de ballet dancers in the 1800's and the anorexic and bulimic ballerinas of George Balanchine, starvation and exploitation have plagued ballerinas throughout history. Using the stories of great dancers such as Anna Pavlova, Isadora Duncan, Suzanne Farrell, Gelsey Kirkland, Evelyn Hart, Marie Camargo, and Misty Copeland, Deirdre Kelly exposes the true rigors for women in ballet. She rounds her critique with examples of how the world of ballet is slowly evolving for the better. But to ensure that this most graceful of dance forms survives into the future, she says that the time has come to rethink ballet, to position the ballerina at its center and accord her the respect she deserves.

Mia's big sister teaches her that there is more to being a ballerina than just putting on the right clothes.