
Guillaume Côté snaps his heels together and plunges into Tendu, a rhythmic set of ballet exercises that I know nothing about. “You can’t muddle up the steps,” he says, feet sharply piercing the air.

I’m at the Walter Carsen Centre for the National Ballet of Canada watching one of the company’s principal dancers teach a class of young students. All have brought their Moms, who sit to the side hanging to each word in hopeful desperation. They want their daughters to be noticed by the company.

“Ladies, there’s not enough energy! Nobody is sweating, I don’t get it!” he says, partly laughing. The girls are so concerned with impressing him that their motions seem mechanical, and my drawings also suffer.

The girls wince through a set of leg lifts, ankles shaky and awkward. Their arms raise in unison and settle into a deep bow. But they’re not trying hard enough. “I’m 41, and I can go all the way down!” he playfully chides, tilting forward to touch his chest to his thigh, back leg extended to the ceiling. It’s effortless. “See? “You direct the thought and you move the limb.”

As with drawing, dance is about decisions. How do I place the body to deliver a powerful impact? Am I communicating a strong character to the audience? And most importantly, is what I am doing enjoyable to watch? Côté instructs one of the girls through a series of leaps. “She gathers the energy, then explodes! She constructs the sentence!” It’s all about strong posing, just like in animation.

I am struck by how many of his comments speak directly to me as an artist. Constantly searching for the unexpected crossing of disciplines, I find Guillaume’s coaching to mirror the writing of Disney great, Walt Stanchfield. Here it is, right in front of me, the principles of good gesture drawing brought to life through ballet. “We’re dancing (drawing) and it’s supposed to look like nothing!”

I’ll share a few more quotes from the class and invite you to find inspiration through dance – regardless of your field. There’s a lot of knowledge to be offered outside the animation community and you’ll find it relates directly to our work as cartoonists.



“Give me pretty faces, eh? It’s not a death sentence!”


“You’re not sweating! It’s a miracle!”


“There should be fire in your hips and quads. Everything is really awake!”


“In order to portray a character you have to be in control of your limbs and body.”


“I see a little bit of energy coming. More!”


“The outcome is not important. It’s the effort.”










































