Chicago Dance Gazette
Chicago Ballet Arts: The Bialek Family Extends Their Talents Through the Years
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Ellen, father Peter and Jane Bialek |
October 2007
Families often find that when more than one member falls in love with dance, what was once a mere hobby becomes a way of life. I recently visited Chicago Ballet Arts and the Bialek family who eagerly shared their twelve year experience in dance with me.
“Dance had nothing but a positive affect on our family.”
Janita Tucker claims that she and her husband, Peter Bialek, have no real experience in dance, only a shared appreciation. So, twelve years ago when Chicago Ballet Arts was conveniently located just three blocks away from their home, “Jane gave it a try at five years old. She was instantly smitten. There was no turning back.” Says Janita, “Ellen was practically raised in the studio, mimicking her older sister before she was allowed to begin at CBA at four years old.”
Ellen, now 13, is currently on break from ballet to participate in her very first volleyball season at Lane Tech. Her father, Peter, beams with pride as he runs through the number of students who came out for the try-outs versus the number of spots available. Her sister Jane lavishes words of praise. “She’s never played on a volleyball team before, and now, not only did she make the team, but she’s the team captain.” Her father continues the thought in his belief that “balance, coordination, and her body sense in space—she learned it all from dance.” In addition, the Bialeks agree that other desirable traits such as working well with others, communicating clearly, and being able to really listen to what is expected of you are all habits Ellen learned from her dance training.
Through the years, the physical surroundings of the studio have changed (they moved to St. Scholastica in 1995) as well as the administration (founder Clare Carmichael moved on and the school briefly passed to Greg Begley. Currently, Patti Eylar and Leslie Saunders are Co-directors). However, Janita believes that “what has remained consistent is the quality of the teachers and the high expectations for the young dancers.” Other changes that the school made throughout the years have only made it stronger. “CBA increased the opportunities for dancers to perform, they’ve added a wonderful summer program, and also, they’ve added a number of classes in other dance styles.”
Given that the stellar CBA staff includes, among others, Amy Rose, formerly of American Ballet Theatre and Calvin Kitten of the Joffrey, one might expect the studio to have a tense air about it. Quite the opposite was true, however. “This studio has no negative energy,” says Jane. She has had her share of experiences at other studios including summer intensive programs at the American Ballet Theatre and the Pittsburg Ballet. “There isn’t competition that you might feel at other studios. At this studio, we support each other,” says Jane.
Though standards are high and the studio continues to produce dancers of professional caliber, it is clear that what is most important to the school is to offer an environment in which everyone is accepted no matter what their level as long as the student tries their best. Not everyone can become a professional ballerina, and not everyone aspires to. But the girls are still expected to work hard to their own abilities. Co-director Patti Eylar confirms the vision of the school: that everyone who wants to dance can and will dance at CBA. “It’s important for us to get the message across that dance is for everyone.”
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