2 3 Ballet Webb: April 2015

Thursday, April 30, 2015

Throwback Thursday and Diaghilev



Throwback Thursday and Diaghilev

He wasn’t a dancer. He wasn’t a choreographer. Yet Serge Diaghilev changed the course of dance history, through the founding of the Ballets Russes.

Serge Diaghilev was born on March 31, 1872 in Russia. He went on to study law at the University of St. Petersburg, graduating in the 1890s. But due to his passion for the arts, he abandoned law and went on to study music. In 1899 he debuted a magazine: Mir Isskustva (“World of Art”).

Later, Diaghilev worked at the Maryinsky Theatre, doing such a variety of tasks, including managing performances. He quickly developed a reputation as a connoisseur of the arts.  He traveled with an art exhibit to Paris in  1907, and while he was there he presented a concert featuring Russian composers.

In 1909 he launched the Ballets Russes, a dance company that would change dance forever. He featured not only great dancers such as Anna Pavlova and Nijinsky, he used artists such as Picasso and Matisse for sets, and composers like Stravinsky for music. The company took Europe by storm, and by 1916 they debuted at the Metropolitan Opera in New York.

The company broke new ground in many areas, but particularly by presenting ballet differently, with movements based on, but not defined by, traditional classicism. Females weren’t just delicate waif-like creatures, and male dancers were more than just partners for the ballerinas. 

The company thrived until 1929, when Diaghilev, suffering from complications from diabetes, died in Venice on August 29th. The world of dance would never be the same.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #68:  
Diaghilev wasn’t a dancer or choreographer, but he changed dance history.”

                Link of the Day:

Quote of the Day:
“Of all the wonders of the world, only art promised immortality.”
-          Serge Diaghilev

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Wednesday, April 29, 2015

Wacky Wednesday and Ballet Trolls

Wacky Wednesday and Ballet Trolls

All dancers have some: Ballet Trolls. Those irritating beings that crop up everywhere, or so it seems, encouraging you to do things incorrectly, incompletely, or lazily. They are designers of destruction and you are probably familiar with them.

Ballet Trolls are ugly, but compelling and convincing. They can make falling out of a pirouette sound like the most fun thing in the world, and even make you desire it. They do this for many other things in dance too. That’s their evil magic. They are especially strong when you are tired, because you can’t fight them off as easily. So there they sit, hunched down on your shoulders, whispering in your ear. Scary.

Simply being aware of them is a dancer’s best defense. Whenever you feel their gnarled feet digging into your shoulder, and their words beginning to sound in your head, shake them off! Do it right away and you’ll be free – at least temporarily – of the Ballet Trolls.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #21g:  
Beware of the Ballet Trolls.”

                Link of the Day:

Quote of the Day:
“Don't give people the chance to possess you with their negativity; their gibberish can look so charming, but it can't make you a better person.”
Michael Bassey Johnson
                                                                                                                                                                           
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                            Want to know more about me? Read my interview at Ballet Connections:                           


Tuesday, April 28, 2015

Technical Tuesday Torso



Technical Tuesday Torso

One of the dilemmas in dance involves the torso. It should operate independently most of the time – uninvolved with whatever the rest of the body is doing. In other words, the torso is stable, straight and square, no matter what the legs are doing. Unfortunately, the legs often coax the torso to move with them: the pelvis tips, tilts or tucks (See previous blog: http://balletwebb.blogspot.com/2014/03/fun-friday-no-tipping-tucking-or-tilting.html). The exception to this independence is when the leg is in a derrière position above 45 degrees or other extremely high extensions.

When the torso (cereal box: http://balletwebb.blogspot.com/2014/03/monday-madness.html ) moves with the legs, it distorts the line of the body, but more importantly, it distorts the placement. This is because wherever the pelvis goes, the body follows. Thus it is best that the pelvis maintains its association with the rest of the torso (ribs, shoulders, etc.), and moves away (upward) from the legs.

To accomplish this un-involvement of the torso, the dancer must constantly work to feel that the pelvis is lifting upward, away from the legs.

Now you know why teachers say “Pull up!” all the time.

From the Big Blue Book of Ballet Secrets:

Secret #7uu:  
“The pelvis usually operates as part of the torso, not part of the legs.”

                Link of the Day:

Quote of the Day:
“Give freely to the world these gifts of love and compassion. Do not concern yourself with how much you receive in return, just know in your heart it will be returned.”
Steve Maraboli, Life, the Truth, and Being Free

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Monday, April 27, 2015

Mad Monday Penthouse

Mad Monday Penthouse

What is a penthouse?  Here is the definition from Wikipedia: “A penthouse apartment or a penthouse is an apartment on the highest floor of an apartment building.” The key words here are “highest floor”.

This is a good image for any relevé, since problems occur when dancers don’t lift enough – the elevator only goes to the upper floors and not the penthouse. Every relevé should be a penthouse relevé. It’s not enough to get almost high enough.

Push your elevator button in (see this blog: http://balletwebb.blogspot.com/2013/11/fun-friday-elevators-and-belly-buttons.html), and make sure you go all the way up to the penthouse. The view is better up there.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #8h:  
“Imagine rising to the penthouse – not just the upper floors - during a relevé.”
                Link of the Day:


Quote of the Day:
“Our character is what we do when we think no one is looking”
H. Jackson Brown Jr.

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Want to know more about me?  Here is my interview on Ballet Connections:


Sunday, April 26, 2015

Sensational Sunday Driver’s Seat


Sensational Sunday Driver’s Seat

Motivation. The key to moving forward toward dreams and goals, and the key to being constant in moving forward every day. But it is hard to do. So often someone else – or something else - is in the driver’s seat.

What do I mean by this? It’s when outside influences propel you in a direction you never intended, like a driver taking you down the wrong road. These other “drivers” can be many things: too much perfectionism, a lack of recognizable goals, jealously, insecurity, etc., etc., etc.  There are lots of other drivers.

The first step is kicking the wrong driver out of the car and taking the wheel yourself. The next step is asking yourself: “What do I want?” It’s like taking a road map and marking the destination with a yellow highlighter. Then you (or Google Maps) work out the best route for getting there. And, just like a map, there are often many ways and many routes to the same destination. All of them will get you there.

So get in the driver’s seat. It’s the best way to get where you want to go.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #73:  
“Get in the driver’s seat.”

                Link of the Day:

Quote of the Day:
“Dreamers design their ideal life and work to achieve it every day.”
-          Dr. Moses Simuyemba

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Want to know more about me?  Here is my interview on Ballet Connections:


Saturday, April 25, 2015

Sensational Saturday Statute



Sensational Saturday Statute

Yes, it’s time once again for another Ballet Statute.  This one involves grimacing. Here is the definition of the word grimace:

“An ugly, twisted expression on a person's face, typically expressing disgust, pain, or wry amusement.”

Obviously, grimacing has no place in ballet; unless of course, the dancer is portraying a character that grimaces.  Other than that there is no grimacing in ballet. Ever.

 Even in the classroom during a difficult movement or series of steps, a dancer must practice hiding any expression of “disgust, pain or wry amusement”.  Facial expressions, like everything else in ballet technique, require practice.

Otherwise, a sneaky grimace make pop up during a performance.  Scary.

From the Big Blue Book of Ballet Secrets:

Ballet Statute #31:  
“There is no grimacing in ballet.”

                Link of the Day: 
 https://www.youtube.com/watch?v=p2OVDg04QjM

Quote of the Day:
“Peace begins with a smile.”
Mother Teresa

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Want to know more about me? Read my interview at Ballet Connections:

Friday, April 24, 2015

Fun Friday Frappés




Fun Friday Frappés

Remember the idea of shooting a laser beam outward from the toes at the end of a frappé?  If not, here is the link to that previous blog:


Today I’m adding another image for frappés. Along with the laser beam that shoots from the toes of the working foot, there are two other lasers:  One that shoots downward into the floor from the bottom of the supporting foot, and another one that shoots up and slightly forward from the top of the head.  Along with the original laser from the frappe foot itself, this gives you triple lasers.

Each laser beam extends outward to infinity.

From the Big Blue Book of Ballet Secrets:

Secret #10e:  
“Remember a triple laser for frappé.”

                Link of the Day:

Quote of the Day:
“If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”
Nikola Tesla

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 Leave a comment about any instructions, ideas, or images that worked best for you!

Want to know more about me? Read my interview at Ballet Connections: