Members of this year’s dance writing class interviewed Houston Ballet dancer Barbara Bears in a specially-arranged session with the well-known principal dancer. During the lively interview they asked a range of questions from how she started dancing to where she sees ballet going from here, uncovering key moments in Bears’ life and career. Here is what they discovered:

By Laura Whitby

When I walk into the conference room, Barbara Bears awaits with leisure behind the long table. Her presence is calm, yet very powerful. She tells her stories willingly, telling us all about her career, thoughts, doubts, fears and life.

A long-time dancer at Houston Ballet, she was brought to Houston by a teacher who taught there, and started attending Houston Ballet summer intensives at age 14. She found a home in Houston, turning down numerous scholarships to other prestigious summer programs each year. She even refused an apprenticeship with American Ballet Theatre at the age of 16, finding Houston Ballet a better fit. She has been with the company for over a decade, becoming a soloist in 1991 and principal dancer in 1995. She continues to thrive as a principal, despite her age and retirement (she was asked back). Her history with the company gives her a different depth and wisdom, and more understanding to bring to the stage.

Throughout her long career, many things have changed her, and have shaped her into the dancer she is today. Among the many things she lists, the largest impact on her life is obviously her son. She cracks many smiles while discussing her child, giving her a real personable, down to earth quality. “Dancers are really self-centered,” she says, “and my son made me realize that I’m not so important.” He also has given her a new sense of imagination and youth that she can bring to so many different roles on stage. It is obvious that with age, her attention shifts more towards artistry rather than technique and tricks. Bears mentions how she admires tricks, but says that in some instances they take the place of artistry.

I ask her what has gotten her through all these years, and what has kept her going. She mentions the difficulty of the profession and different sacrifices, like time and putting off having family. But what has kept her going is her love for performing. She admits that she hates class nowadays sometimes, because she has to look in the mirror, reminding her of her age and how she used to be able to do some things a little bit better. “Now in class, it’s not about ‘look at me!’, it’s about ‘don’t look at me!’”. She uses her classes to maintain her technique. It’s hard to imagine how such a beautiful, seemingly flawless dancer could be so critical.

Bears mentions another thing that has gotten her through this intense profession, which is the journey. She says that the rehearsals and experiences are more interesting and memorable than the actual shows. She loves to work in the studio rehearsing, and has really loved working with Sir Kenneth McMillan and Christopher Bruce, along with Ben Stevenson and Stanton Welch, on different choreography. Although she loves to work on choreography, she doesn’t plan on ever creating it herself. Her past experiences have not been enjoyable, and she would much rather teach and raise her son after her career.

Bears is a wise dancer with a lot of experience and knowledge. Just from the 20 minutes spent with her, I feel like she is a close friend. As the interview comes to an end, she admits she doesn’t mind telling her stories, saying “I could talk about myself forever.”

By Abby Bushnell

Arriving earlier than expected, Barbra Bears enters the room; a humble, down to earth woman. Her approachable aura slightly settles the nervousness within the room as she takes a seat where we begin to learn the fascinating details of her years as a ballet dancer. Originally from a very small ballet school, Bears, a Florida native, first came to Houston Ballet summer intensive at the age of 14. Amazingly enough, Bears proceeded to live out her dream of becoming a professional ballet dancer by entering the company at the age of 16. Although it was a huge change, from moving away from her family to dancing in a professional company at such a young age, Bears had no reservations and took in all of the amazing opportunities that presented themselves. In addition in her first year in the company, Sir Kenneth MacMillan was so moved by her dancing, he used the inspiration that she gave him to create an entire ballet. Now, as a principal dancer in the company, Bears realizes that many of the other dancers, specifically those of higher rank must have felt slighted, as MacMillan created a ballet on a mere corps member.

In 2001 Bears retired and had a child. At the same time the artistic director of Houston Ballet, Ben Stevenson left, and Stanton Welch replaced him. However, after a year of retirement, Welch insisted that Bears return to dancing, a decision Bears was not eager to make, but nonetheless decided to return. Upon her return, Bears not only discovered the changes within the company but within herself as well. After experiencing motherhood, Bears claims to have a better sense of the importance of artistic and emotional motivations behind dancing, a quality of dance that at times is overlooked but in the end, it remains the most important aspect of ballet.

In terms of balancing her family life with her busy career, Bears describes ballet as a “mistress,” something that always pulls her away from her family. However, the position of a principal dancer includes the requirement of several sacrifices. Bears also feels as if ballet has made her somewhat selfish. For example, family activities including vacations must all revolve around her schedule, which includes dancing everyday, all day including holidays.

Currently when thinking of her future, Bears is keeping teaching as a possibility. As she learned form a young age, teaching can be a great option to fall back; thus, Bears acquired useful teaching skills throughout her years as a dancer. Currently Bears teaches on occasion, stressing the importance of passion and emotion in dancing, not just tricks to her students. In terms of choreographing or becoming an artistic director, Bears steers away from those possibilities, as they do not provide her with the same joyous fulfillment as dancing or teaching.

To Bears, dancing is something so personal, it is something that she has created with her own emotions and creativity and will forever have a place in her heart. Yet had she not chosen to dance, Bears explains she would be somehow involved in the arts, yet her dream, like most is to travel the world. As for scholastic possibilities, Bears explains that the desire to learn came too late for her, which would made attending a university a very difficult option.

Overall, Bears has accomplished a great deal, and continues to dance with the Houston Ballet, providing us with her passion and eloquent movements, serving as an inspiration to all, including dancers. In closing, as words of advice to young dancers, Bears urges not to criticize oneself too much, as dancing is short lived career that should be enjoyed to the fullest.

By Ian Buchanan

Barbara Bears was born in Ft. Lauderdale, Florida. She trained in a little school in Florida, and when she was 14 she attended the Houston Ballet’s Summer Intensive Program. She tells us how the Houston Ballet company had toured through Florida on numerous occasions, and she had seen them perform. She told us that it was really cool getting to finally see the professional dancers in the studios when she was attending the summer program.

She returned again when she was 15, and then again when she was 16 and decided to stay in the academy for a year. When she was 17 she was hired into Houston Ballet in 1988 by Ben Stevenson, who was the director then. She had a big break that year when Sir Kenneth MacMillan selected her for the lead in his ballet Gloria. She tells us how she really didn’t realize how big of a deal it was to be given such a big break so young until she became a more highly ranked dancer.

Barbara worked her way up the ranks of the company and was hired as a principal in 1995. She retired for a while when she had her son and then was rehired when Stanton Welch took over the company in 2003. She has enjoyed working with Stanton and many other choreographers throughout her carrier including Ben Stevenson, Sir Kenneth MacMillan, Christopher Bruce, and John Cranko.

Barbara’s description of the relationship between the dancer and the art form to me is so true. “Ballet is like a Mistress, it pulls you away from the rest of your life,” she says. It really is like having something that can take you away from the rest of your life. Every thing becomes based on, and around this single element, and everything else seems to lose importance.

Barbara began to truly realize this relationship more when she had her son. She realized that ballet would have to make room for other elements of her life. She told us it has been quite a trial-and-error process so far trying to balance ballet and family. She seems to be doing quite a great job so far. It sounds like her son is growing up to be a bright little child, and her performances, I hear, are just as good as ever.

When asked what she feels is the biggest sacrifice she has made, she answers, “I think it would be time.” Barbara tells us how she really wishes to spend more time with her family, but ca not because of her career. For example, while most of her family spends Christmastime together, she cannot because she has to be doing Nutcracker.

Also, being a ballet dancer is a career that has long days and very few vacations breaks, maybe one decent break each year, and that might be it. And when you add year and years of this, it totals up to be a lot of time spent inside a studio, and little time for any things else.

Barbara is asked about what she is interested in doing after her career. She tells us that she is interested in teaching and has already begun to do so. She is asked if she is interested in being a choreographer. She explains that she has not interest because of the lack of control she would have over the piece and how the dancers performing it.

We ask Barbara about class and if she still enjoys taking it. She said it really is only a reminder of age, and jumping hurts, so no she doesn’t really enjoy it. But she does enjoy guest teachers and the new styles and ideas they bring with them. Because of her performing schedule, she really would prefer to only take bar, the first half of class, and then start into the day of rehearsal.

Someone asked Barbara if she had any rituals before performing and if she still gets nervous. She told us she did not have any real set-in-stone rituals, but she does get more nervous now then when she was younger. She explains that by being a principal now there is more pressure on her to perform extremely well in each show, which was not as strong as a demand on her when she was a lower ranked dancer.

As to the question, “Why do you dance?”, she answers, “I don’t know, I mean, why do you dance?” And as for advice for young dancers, “Just behave yourself and be smart” she told us.

By Julie Smith

Barbara Bears, principal dancer with Houston Ballet, has made a long journey through her successful dancing career. In summing up her experience as a dancer working in a company, Bears said, “It’s more about the journey than the destination.”

Bears spent most of her childhood living in Florida, which is where she first began to dance as a young girl. When she turned 14, Bears studied at the School of American Ballet for a summer, returning again at age 15 and 16 as well. After her third summer at SAB, Bears stayed in the school for one year before being offered an apprenticeship position with the school’s affiliated company, New York City Ballet. However, at this crucial beginning stage in her career, Bears decided to move to Houston and spend a year in the Ben Stevenson Academy, in hopes of joining the company the following year as a corps member. Bears had a connection with Houston Ballet through her one of her Florida teachers, who suggested that she take this daring shift away from NYCB. Bears’ decision turned out for the best, and joined Houston Ballet as a member of the corps de ballet in 1988.

Houston Ballet seemed to be a great fit for Barbara; she received multiple opportunities to prove herself and perform in highlighted roles even within her first year as a company member. Bears explained, “Sometimes it’s not about being the best dancer in the room. It’s about being the most behaved.” With her unique combination of a great work ethic, beautiful movement, captivating lines, and “banana feet,” she earned the ranking as soloist in 1991. Finally, she was promoted to principal in 1995. Over the years her favorite roles to dance have come from the ballets Manon, Madame Butterfly, and Eugene Onegin. Bears also said that she tends to get more nervous now before shows than ever before, because everyone expects so much from her. She explained that, since she is a seasoned principal dancer, both the artistic staff and the audiences anticipate and require a stunning performance in every show. However, Barbara never fails these hard-to-please spectators, and delivers spectacular performances every time she steps on stage.

In addition to the grueling life of a dancer, Bears also balances having a family life as well. Barbara met her husband, Garrett, through former principal dancer and friend, Martha Butler. Barbara married him at age 24, and they now have a son, who will turn five in September. Bears described the shift into motherhood as a great change in perspective. “It made me realize that I’m not so important.” Most dancers devote most of their time and energy into themselves; they continually assess the condition and position of their bodies, they constantly concentrate on fixing their own lines and movements in the studio, and they carefully monitor their eating and sleeping habits to keep in good health.

Once her family began to grow and develop, Bears had to learn how to devote time and energy to her son and husband, while still taking care of herself as a dancer. Like any dancer, her career has forced her to sacrifice a vast amount of time throughout the years. However, these sacrifices seem to be made worthwhile through the moments Bears described of when her son insists upon attending opening night, and brings all his friends to the theater to see his mommy perform. Like every art form or career path, a dancer’s life has its sacrifices and its rewards. However, Bears professes to have learned many life lessons, received thrilling opportunities, and discovered insights into her own character over the years. Such an experience as hers leaves the soul with no regrets, but only fond recollections and bright hope for the future.

By Kristen Springer

Barbara Bears has been teaching at the Houston Ballet Academy’s Summer Intensive Program this year, and graciously agreed to speak with the students about her experiences as a dancer over the course of her career with the Houston Ballet.

Ms. Bears began her training at a small school in Florida, where along with taking classes she also taught as part of her training. She came to the Houston Ballet Academy’s Summer Intensive Program for three years, from age 14 through 16. The third year that she attended the summer program, she decided to stay for the year, turning down an apprenticeship with American Ballet Theatre. After spending a year in the academy to complete her training, Ms. Bears was invited to join the Houston Ballet at age 17. This was enabled by the fact that she finished high school two years early.

She joined the Houston Ballet in 1988 and quickly rose through the ranks of the company; she was promoted to principal dancer in 1995, getting ample opportunity to fulfill her passion for performing. For Ms. Bears, “ballet is an art form, not a sport.” While she is reminded everyday in class of the reality of the difficulties of achieving and maintaining an advanced level of technique, she encourages students to enjoy every minute they dance and not be too critical with themselves, as the experience is gone much too quickly.

Ms. Bears retired from Houston Ballet in 2001 to have her son Ethan. He helped her to realize how self-centered ballet dancers often are. Having a baby made her realize “she was not so important after all.” At age four, Ethan is very imaginative and helps his mother to be more creative, although she does not have much interest in choreographing.

When Stanton Welch took over artistic directorship of the Houston Ballet from Ben Stevenson, he invited Ms. Bears to return to the company, acknowledging her beauty and expertise as a dancer and artist. Coming back, Ms. Bears did not want to be required to dance in the Nutcracker, having already had more performances than most dancers do in a life time, and requested that at least she not perform the roles of Snow Queen or Sugar Plum fairy since she had already done them so often.

For Ms. Bears, the greatest sacrifice involved in being a dancer is the massive amount of time required. She says that, “Ballet is like a mistress, it’s always that something on the side.” Her words of advice for ballet students are to remember that every dancer is human, and is allowed to make mistakes, and that to be a good dancer you must be vulnerable.

By Morgan Butler

In June of 2007, Barbara Bears, principal dancer with the Houston Ballet, took time out of her busy schedule to speak with students of the Houston Ballet Academy’s Summer Intensive about the life of a professional dancer.

She began her training in West Palm Beach, Florida, where starting at age 14 she was required to teach classes to other students as part of her curriculum. That year she also attended the Houston Ballet Academy’s Summer Intensive, the beginning of a lifelong fulfilling relationship with the Houston Ballet. After returning yearly to attend the summer program she chose to enroll year round with the academy, giving up an opportunity to become an apprentice with American Ballet Theatre. She joined the Houston Ballet in 1988 at age 17.

Over the course of the next seven years, she rose through the ranks of the company, and was promoted to principal dancer in 1995. During her early years with the company, she danced under the direction of Artistic Director Ben Stevenson, who rotated the company’s repertoire every few years. She starred in many of his ballets including the Nutcracker, Sleeping BeautyCleopatra. She was also chosen to dance in the ballets of other world renowned choreographers including Christopher Bruce, Sir Kenneth MacMillan and Stanton Welch, including her favorite classical works Eugene Onegin, Manon and Madame Butterfly. and

While dancing with the Houston Ballet, Ms. Bears goes through a pair of triple-shanked, custom-made Freed pointe shoes each day. She uses only tape to protect the toes of her extremely valuable, exquisitely arched feet.

Five years ago, Ms. Bears chose to retire from Houston Ballet to enable her to fully devote herself to raising her newborn son, Ethan. The birth of her son helped her realize the tendency of dancers to become incredibly self-centered, solely focusing on their own goals. Ethan also helped her to rekindle her imaginative side, bringing more creativity to her portrayal of a variety of characters on stage.

When Stanton Welch took over the artistic directorship of Houston Ballet, he invited Ms. Bears to return from her hiatus, drawn to her phenomenal dancing ability and the increase in her artistic maturity due to her new experiences as a mother. Especially during her years dancing while raising her son, her greatest sacrifice for ballet has been her time. In her words, “Ballet is like a mistress”.

In the future Ms. Bears looks forward to entering a new phase in her relationship with the Houston Ballet by working with the students in the academy, whether through teaching technique classes or coaching students in their roles for academy performances. She encourages students to remember that ballet “is not all about tricks…it is an artform.” While acknowledging that dancers are vulnerable because they are judged everyday, Ms. Bears advises students to remember that all dancers are only human beings, and are allowed to make mistakes.

By Braulio Alvarez

Barbara Bears started dancing in a small studio in Florida. She, as most dancers, auditioned for the major dance schools in America, being accepted to almost all of them with a scholarship. At the age of 16, Ms. Bears was offered an apprenticeship with ABT which she rejected in order to attend to Houston Ballet Academy. After spending one year at the school, she was offered a contract to join Houston Ballet as a corp dancer. Shortly she was chosen by Sir Kenneth MacMillan to perform a principal role.

In 1991, Barbara was promoted to soloist, and four years later she was named principal with the company. She retired from the company in 2001 but was invited back to the company by Stanton Welch.

Actually, she is still dancing with the company, but now dedicating her life not just to dance, but to her family as well. She has to take care of her son which has brought changes to her performing life as well. “It made me realize that I’m not so important” she says, one of the things she has learned. She also said that although it does not happen from one day to another, having a son has also given her ideas and has opened her imagination. Spending time with her son and her husband has also been troublesome having dance demanding most of it. Last December, Barbara asked not to be cast in the Nutcracker in order to spend Christmas evening with her son.

Something else that Ms. Bears loves doing is teaching. As a teacher and experienced dancer she has developed her opinion regarding the path ballet has taken over the last few years. “I admire tricks, but the art is not brought up by doing them.” She also remarks that before, dance was about the passion and sacrifice dancers gave towards dancing. As a coach, she tries to set the mood for a variation or a ballet, trying to keep the art always present.

Being an older dancer has changed the way she sees things. “ I don’t love class because it reminds me of my age.” She also feels different when she is about to perform. “ Now I get more nervous. I’m not happy if it is not close to perfect.” Although she is always striving for perfection, she says that the best advice someone has given her is to remember that she is just a human being. What she advises to anyone embarking on a professional dance career is, “Enjoy it, because it goes by really fast."