“TikTok is so careless, why not have a little fun with it?” Waters said. “Highlighting these comments also adds a bit of pressure: it’s not okay to talk to dancers in this way, and maybe you might be exposed to that kind of behavior as well.”
One reason Waters feels that it is easy to hang on to Tickcock is because he does not worry about his boss scrolling. “I would work hard to find an artistic director who really knew what Tiktok was,” he said. But that “mom and dad are not home” atmosphere probably doesn’t work.
Beginning to create professional ballet inroad. The American Ballet Theater, one of the country’s premier companies, had its dancers take a Ticketock course last spring. The company has been posting exploratory videos on @americanballettheatre since August, and became the first major ballet company to officially launch a TikTok account. Where the ballet theater goes, other mandals are sure to follow, a change that could change the app’s ballet ecosystem.
Or maybe not. Current residents of Ballet Tickcock can only ignore corporate offerings, especially if the company’s accounts end up as a showcase of technology. “When I’m scrolling through Ticktock, I really don’t want to see Isabella Boylestone doing six pirates,” McCloskey said, referring to a lead dancer at the Ballet Theater. “He’s obviously talented, but it’s boring. This is not the creative material for me going to TikTok. “
Akamine also said that some of Ballet Ticktock’s young stars do not wish to receive institutional approval. “In this day and age, on this platform, we have the same power and value as the big companies,” she said.
The 26-year-old, Conor-Nonforming Corps de Ballet member, who runs the Ballet Theater’s TickTock account, said the company wanted to offer a version of itself that feels right for Ticketock’s culture. Last year, Holloway successfully lobbied for the ballet theater to remove the gender-restrictive label from his company’s classes. The material challenging the ballet gender binary will be “absolutely” part of the ballet theatre’s TickTalk presence, Holloway said, referring to the company’s account of the possibility of a crowded ballet feature, contributed by younger artists With choreography and design, such as “RatTouille: Tickcock Musical.”