Choosing Between Vaganova, RAD or Cecchetti: Why It’s Not as Important as You Think!

Ballet, often described as the epitome of grace and poise, is not just a dance form but a cultural expression that varies across different regions. Among the most renowned styles are the Russian, English, and French techniques, each with its own unique characteristics and contributions to the world of dance.

Before we dive into the differences between these styles, let's address something important. This discussion is not about which style is superior; it's about understanding the diversity within ballet and finding what resonates with you as a dancer.

More important than the specific style of ballet you're learning is the quality of the teacher guiding your journey. Whether it's Vaganova, RAD, Cecchetti, or any other style, ballet is ballet. What truly shapes your dance education is the person teaching you.

An inspiring, enthusiastic, qualified, and educated ballet teacher can make all the difference in your development as a dancer. They not only impart technical knowledge but also instil passion, discipline, and a love for the art form. A great teacher can inspire you to reach new heights, encourage you to overcome challenges, and help you discover your unique artistic voice. Their dedication, guidance, and mentorship create a nurturing environment where you can thrive and grow as a dancer and as an individual.

So, while it's valuable to explore different styles, remember that the most important factor in your ballet education is the person standing at the front of the studio, sharing their expertise and passion with you.

I'm always asked by potential or current students 'what style of ballet do you teach' and I honestly just want to answer 'classical ballet' - I teach classical ballet! But I know they're looking for a more nuanced answer.

So if I were to elaborate, I learned and completed examinations in the English style (Royal Academy of Dance) as a child. But when I began being part of pre-professional programs at Queensland Ballet and The Australian Ballet, most of my teachers were Russian so my training was heavily Vaganova influenced. For 10 years I taught and facilitated Vaganova ballet examinations through The Australian Conservatoire of Ballet before deciding to offer the RAD syllabus and examinations instead. This was for various reasons which need a whole other podcast of it's own. But it just goes to show that ballet is ballet and my students have enjoyed and flourished in both styles. 

There's two questions about 'style' that pop up quite a lot in my line of work. The first is from adult students enquiring about our classes, wanting to know which style of ballet we teach. And whilst we offer RAD exams for our adult students, the majority of classes are 'open classes' which means there is no set style, exercises or rule book. We're teaching 'ballet' in our adult classes which is influenced by past training but also evolves with further research, learnings and interests. Personally, I take what I love and what I deem best practices from both my RAD and Vaganova training to form a hybrid style with my students learning experience at the forefront of everything I do. 

The second question I receive is from parents of aspiring dancers wondering what style is best for their child to learn if they want to get into a pre-professional program or ballet company. I sometimes hear parents in the corner of a competition comparing thoughts on the syllabi that their child learns, 'Sally learns RAD because that's what's considered the gold standard for Queensland Ballet Academy!' or 'Henry is learning Vaganova because everyone knows that's what the Directors are looking for!' And I kind of giggle because Directors of prestigious ballet schools and companies couldn't care less what style or syllabus students have learned. In fact, they would never know unless they ask. If a student has the natural ability, aesthetic, features and work ethic that they're looking for then they don't care what style of ballet they learned or who taught them. It's as simple as that. Because when you're in these kinds of programs (like when I was at The Australian Ballet School) you don't learn a set syllabus or style. The style and repeating exercises are influenced and developed by whoever your teacher is at the time. 

The point I'm trying to make is that it's lovely to have a syllabus to follow and I think this is really important for school-aged students and their progression through levels, but it really doesn't matter what style is taught - it comes down to the teacher. I've seen the RAD method taught terribly, I've seen the Vaganova method taught incorrectly. And I've witnessed marvellous teachers who never learned any syllabus! The best teacher I ever had was a company member of Queensland Ballet who never learned a syllabus - he would simply give me open class. 

So now that part of topic has been explored, it's time to simply sit back and learn about the different styles and explore a little more about them...

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The diversity of ballet styles stems from a combination of historical, cultural, and artistic influences. Over the centuries, ballet has evolved within different regions, each with its own traditions, training methods, and aesthetic preferences. But as you'll see in the descriptions I'm about to give you, there are some key players and therefore lots of crossover of styles - which furthers my point that ballet is ballet!

Russian Ballet

Russian ballet is synonymous with technical precision, athleticism, and emotive storytelling. It traces its roots back to the Imperial Russian Ballet of the 18th century and has since evolved into a globally revered style.

Vaganova is really having a moment right now, with students loving YouTube clips from the Vaganova Ballet Academy and I'm often asked for this style when people make enquiries. I simply explain that I have a Vaganova background so students will be enjoying the fruits of this knowledge in my classes. 

One hallmark of Russian ballet is the Vaganova method, developed by Agrippina Vaganova in the early 20th century. This method emphasises fluidity of movement, musicality, and expressive port de bras.

It's big, bold, elongated and dramatic. Compared to other styles we're going to cover that are more parred back - the Russian Vaganova style is very sought after and popular because it's incredibly theatrical.

Personally I love the use of back, stunning mobility (incredible flexibility) and something that we can all implement, a strong use of head. Most notably the profile of the face - you'll often hear me say in class, show me your jaw to achieve this look. And I do tend to sneak this into my RAD students with examiners always commenting on the beautiful use of epaulement my students have.

Russian dancers are renowned for their impeccable technique, breathtaking jumps, and emotive performances that captivate audiences worldwide.

Where you'll find this style - Marinsky, Bolshoi 

English Ballet

English ballet, often associated with the Royal Ballet in London, embodies a blend of classical elegance and artistic innovation. Rooted in the traditions of the Royal Academy of Dance (RAD), English ballet places a strong emphasis on grace, refinement and meticulous attention to detail.

Now some teachers are not going to like me saying this, but RAD is sort of a blend of everything - Vaganova, Bournonville, Cechetti, French, Italian. You can come at me, but if you trace it's routes the RAD was founded in 1920 so it hasn't been around for a long time compared to Cechetti or Vaganova and it's founders were all trained in various styles.

Something I enjoy about the RAD style is that they have a lot of free movement so students can be incredibly musical and learn neo-classical techniques. But overall the syllabus is very detailed and methodological. I personally enjoy the RAD syllabus as it has a recreational and vocational route which suits more dancers and offers opportunities the others don't. 

The influence of English ballet extends beyond technique, with choreographers like Sir Frederick Ashton and Sir Kenneth MacMillan contributing iconic works that have shaped the landscape of contemporary ballet. And because of this I think when you watch Royal Ballet dancers they're incredibly clean, versatile and I think it's obvious the style aims for strong, healthy dancers without loosing the discipline and drive for excellence. 

Where you'll find this style - Royal Ballet, England 

French Ballet

French ballet, with its origins in the courtly dances of the Renaissance era, is characterised by its emphasis on lightness, fluidity, and refinement. Often associated with the Paris Opera Ballet, French ballet technique places a strong emphasis on épaulement (the shaping of the body) and precise, intricate footwork.

I'd like to mention here that a lot of people think ballet originated in France, but it actually did not. Ballet technically started during the Italian Renaissance era and didn't become standardised or popularised until the French courts took over. So whilst Paris Opera is deemed the holy grail and beginnings of ballet, it technically started in Italy. 

One defining feature of French ballet is the Cecchetti method, developed by Italian dancer Enrico Cecchetti but widely adopted in France. This style was also incredibly influenced by Rudolph Nureyev who in the 1980's made French ballet what it is today. Cecchetti in my personal opinion is incredibly poised and elegant. They seem very forward, like their port de bras are welcoming the audience in as opposed to the Vaganova style which is open across the chest and arched back a little. 

Where you'll find this style - Paris Opera Ballet 

Balanchine Style (American Style)

Interestingly George Balanchine was trained in the Russian style and when he came to America he founded The School of American Ballet in 1934 before American Ballet Theatre in 1948 - he is called 'The Father of American Ballet' which is a pretty huge title! 

Like Vaganova, Balanchine has a 'more is more' mentality. The overall vibe is really interesting and incredibly virtuosic - think lots of speed and precision, expansive use of space, often featuring intricate footwork, daring lifts and rapid directional changes. I mean isn't everything in America just bigger and faster? So this should come as no surprise. 

Whilst Balanchine is renowned for its dynamic athleticism, musicality and modernist aesthetic, it also has some very famous defining characteristics. I remember being taught by a Balanchine teacher in New York who was trying to get this silly Australian (me) to do pirouettes from a straight back leg. You may have also heard of 'the claw' which is the shape of the hand which in my personal opinion looks a bit like you're holding a burger in your palm. All fingers are separated so you can see all the fingers and some students hold golf balls to train the round shape of the hand. Balanchine also liked his dancers to spot the audience when doing multiple turns across the stage instead of spotting where you're going. Can you imagine! And dancers are encouraged to cross their wrists in first position during pirouettes or a port de bras from first to fifth position. 

Personally I can always pick a Balanchine trained dancer because they are few and far between, but also because it's so obvious with these incredibly defining characteristics. 

Where you'll find this style - New York City Ballet, Pacific Northwest Ballet

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In conclusion, the Russian, English, and French styles of ballet each offer a unique perspective on this timeless art form. While Russian ballet dazzles with its technical virtuosity, English ballet captivates with its refined elegance, and French ballet enchants with its delicate grace.

Ultimately, ballet is a deeply personal and subjective experience. What matters most is the passion, dedication, and artistry that dancers bring to their craft, as well as the joy and inspiration they bring to audiences worldwide.

So while it's fascinating to learn about the different styles, remember that there's no right or wrong way to enjoy ballet. Find what speaks to you, and let your love for dance guide your journey. As I always say, ballet is a physical representation of music, and that's what it's all about! Find a teacher that resonates and brings the best out in you. That's what it's all about - don't get hung up on the 'style' you're learning.