Mad Monday to a “T”

Mad Monday to a “T”

I recently blogged about imagining the body as the letter “I”: Ballet Secret #1xx: Imagine yourself as a giant number 1, or the letter I. Today’s theme is another letter of the alphabet, the letter “T”.

Too often the shoulders cave in, or pinch backwards and neither one is valid or useful in ballet technique. Instead, there must be a level energy outward, radiating in opposite directions across the shoulder line – just like the top of the letter “T”. In fact, it is almost as though there are two “T”s, one on the front and one on the back, since this energy must open both the front and the back sides of the upper torso.

Finally, the rest of the body is nice and straight, providing firm support – just like the bottom of the letter “T”.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #1zz:  

“ Imagine your shoulders as the top of a capital letter T.”

                Link of the Day:

https://www.youtube.com/watch?v=ZDJO7SifJ_s

Quote of the Day:

“Once you can write an alphabet, you can write a book of 100 million pages. It's just a matter of believing it as possible, and taking the cross millimetre by millimetre.”
― Israelmore Ayivor

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Sunday Patience

Sunday Patience

Of all the virtues dancers need to have like perseverance, intelligence, optimism, etc., the most important one may be patience. Dance training takes time, and more time, and even more time - right? It is a slow process.

But that being said, it is a very effective process for those who work hard and are willing to wait. Those who trust that the effort they put forth every day will, eventually, pay off. In other words, waiting and working with a good attitude.

The next time impatience rears up and confronts you, take a deep breath and remind yourself that patience is crucial and its definition is simple: the ability to wait with a good attitude.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #105:  

“Strive to foster patience: the ability to wait (and work) with a good attitude.”

                Link of the Day:

https://www.youtube.com/watch?v=cu9E7ZgALfY

Quote of the Day:

“Trees that are slow to grow bear the best fruit.”
― Molière

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Sensational Saturday Underestimate

Sensational  Saturday Underestimate

I’ve blogged many times about pliés and how important they are. Critical, in fact. Yet dancers so often fail to use them effectively. Or, they ignore them completely. Scary.

Think about how powerful a single plié is and how much it does: it propels things, it cushions things, it relaxes the muscles in the leg to prevent injury, etc. etc. etc.! In short, it is truly the most important step in ballet!

Whenever a dancer encounters problems with a particular step, or set of steps, I advise them to look first at their plié – is it being used to its maximum effectiveness? Often, just adjusting the plié solves a multitude of problems.

Never underestimate the power of a plié!

From the Big Blue Book of Ballet Secrets:

Ballet Statute #62:  

“Never underestimate the power of a plié.”

                Link of the Day:

https://www.facebook.com/433488713433870/videos/923218674460869/ 

Quote of the Day:

“It has long been an axiom of mine that the little things are infinitely the most important.”
― Arthur Conan Doyle

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Fun Friday Scenic

Fun Friday Scenic

Consider the scenic route. You know, those beautiful hikes or drives that wind through a spectacular landscape and often end at an amazing view. You linger on these trips, you don’t speed through. There are times in ballet technique when you do the same.

The first one that comes to mind is a promenade, designed to show off all sides of a balletic position. Another one is penchée – too often dancers rush to get to the bottom and lose the lovely, slow unfolding of the final pose (6 o’clock, maybe).

Then there is developpé. Again, a large part of the beauty in this step is created by the lyrical unfolding of the position, gradually revealing the dancer’s gorgeous extension.

It’s like so many things in the arts – from books, to music, to dance - a slow building (taking the scenic route) to a satisfying ending.

From the Big Blue Book of Ballet Secrets:

Secret #22u:  

“Consider when to take the scenic route.”

                Link of the Day:

https://www.youtube.com/watch?v=LLMRckxRqqE

Quote of the Day:

“The really happy person is the one who can enjoy the scenery, even when they have to take a detour.”
― James Hopwood Jeans

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Throwback Thursday and Lucile Grahn

Throwback Thursday and Lucile Grahn

Lucile Grahn was born in 1819 in Denmark. She caught the eye of August Bournonville at the Royal Danish Ballet school, and he began to personally oversee her training. When she was fifteen, he took her to Paris and there she decided she wanted to dance at the Paris Opera. She was, according to an article from Andros on Ballet, “stubborn as a mule” http://michaelminn.net/andros/biographies/grahn_lucile/, and this caused tension between them. When he refused to give his permission for her to go to Paris, she begged Denmark’s Princess Wilhelmina, and she granted her permission. Grahn left Denmark forever in 1839.

During her tenure at the Paris Opera, Grahn got her first big break. She replaced Fanny Elssler in “La Sylphide”. In 1844, she went to Milan, and then to London. But in 1845 she got an even bigger break: she was invited by Jules Perrot to perform in the ballet that most people remember her for today: Pas de Quatre.

By 1848 her career had peaked, and she moved to Germany. In 1856, she married tenor Fredrick Young. Sadly, a few years later, an accident on stage left him in a wheelchair and she became the sole support of the family. She taught dance and choreographed for the Munich Hoftheatre.

Lucile Grahn outlived her husband by more than twenty years, and she became a well-known sight walking on the streets of Munich, dressed in all black. She died in 1907 and left her worldly possessions to the city of Munich, who named a street in her honor.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #102:  

“Lucile Grahn was a famous Danish ballerina best known for her role in Pas de Quatre.”

                Link of the Day:

https://www.youtube.com/watch?v=7LomI-GEho0

Quote of the Day:

"Never throughout history has a man who lived a life of ease left a name worth remembering.”
― Theodore Roosevelt

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Wild Wednesday Jump

Wild Wednesday Jump

Students often ask me questions regarding the best ways to improve their technique. One frequent question is “How can I improve my jumps?”. There are many possible answers, depending on the individual pupil. But a general way to improve elevation is simple: notice the best “jumper” in class, and dance behind this person, matching their rhythm and height.

This is often the best way for a student to get the sensation of jumping well. The body learns a great deal by imitation (although this shouldn’t be the only way), and by attempting to match the height and cadence of an excellent jumper, the student will understand – and more importantly – feel what they need to do.

It is all about feeling.

From the Big Blue Book of Ballet Secrets:

Secret #22t:

“Jump behind the best jumper in class.”

                Link of the Day:

https://www.youtube.com/watch?v=Gf0NX8Mqohk

Quote of the Day:

“We think too much and feel too little.”
― Charlie Chaplin

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Technical Tuesday Body Positioning

Technical Tuesday Body Positioning

Classical ballet’s specific body positions, such as croisé, ecarté, en face and éffacé, grew out of the very early days of ballet when dancers performed for nobility and royalty. During this time it was critical that dancers abide by the prevailing rules of etiquette, the most important of which (for dancers, anyway) was that performers were never allowed to turn their back to the audience.

Thus, the system of diagonals we recognize today was employed. Today, we know this angling of the body also exhibits the most pleasing, aesthetic line of the body. Look at any advertisement for a weight-loss scheme and notice that the “Before” pictures are almost always taken with the person facing directly front (en face), and the “After” photographs are shot with the person standing on an slight diagonal.

From the Big Blue Book of Ballet Secrets:

Secret #22s:  

“A dancer’s positioning evolved from ballet being presented before an audience of royalty.”

                Link of the Day:

https://www.youtube.com/watch?v=LDtpDlCf94g

Quote of the Day:

“Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.” 
― Alfred North Whitehead

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Marvelous Monday Quiet Water

Marvelous Monday Quiet Water

One of the difficulties dance students encounter when learning how to move and shape the arms effectively is how to avoid stiffness. When learning the intricacies of correct arm placement (elbows lifted, fingers elongated, etc.), it can seem daunting.

What often happens is a rigid, immovable arm position – one that looks good as long as it doesn’t move. Statue arms. This is particularly true of the hands and fingers.

To help students learn how to keep a natural breath in the hands, fingers, and ultimately the arms, have them stand with their arms outstretched in front of them, palms down, fingers elongated. Tell them to pretend they are standing in a pool of water with their arms are resting on top of the quiet water. Even quiet water isn’t completely still, and so their arms, hands and fingers will move or “breathe” slightly. Then have them move their arms downward, feeling the resistance of the “water”, then back upward, again feeling the resistance.

Explain that this is the sensation necessary for beautiful, clean movements with the arms and hands.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #6ii:  

“ Imagine the arms resting on top of quiet water.”

                Link of the Day:

https://www.youtube.com/watch?v=bj3KfGP5zdA

Quote of the Day:

“Let us be grateful to the people who make us happy; they are the charming gardeners who make our souls blossom.”
― Marcel Proust

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Sunday Work and Talent

Sunday Work and Talent

Today’s motivational thought is somewhat of a hard truth. It matters little how talented a dancer is, if that dancer doesn’t work. This is especially true in dance, since the physical skills needed to succeed are, well, excessive.

I think of “talent” being the ability to act, the ability to use movement to portray emotion in a way that moves an audience and the ability to move beautifully. Physical skills, to a large extent, can be taught and learned, assuming enough motivation exists in the student.

Also, a student doesn’t have to have a perfect body, perfect extension or perfect turn-out, etc. Almost everything  can be achieved – or at least greatly improved - with time, effort and patience.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #104:  

“Hard work beats talent when talent doesn’t work hard.”

                Link of the Day:

https://www.youtube.com/watch?v=43MVFR2XdnM

Quote of the Day:

“It's hard to beat a person who never gives up.”
― Babe Ruth

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Saturday Five

Saturday Five

When the whole foot is on the floor, that is, times when the supporting foot is not in a relevé (or on the way up or down from a relevé), it is important that all five toes make contact with the floor. This sounds simple enough, right?

However, often in an attempt to “push” the turn-out too far, the dancer’s weight rolls forward onto the arch of the foot and the little toes levitate off the floor. Scary stuff. This weakens the ankle, among other horrible things, and doesn’t provide the necessary strong base for balancing, or for pushing from a plié.

Ballet Statute #61 makes it clear: all five toes must be in contact with the floor at all times when the whole foot is on the floor. No levitating little toes!

From the Big Blue Book of Ballet Secrets:

Ballet Statute #61:  

“When the whole foot is on the floor, all five toes must make contact with the floor.”

                Link of the Day:

https://www.facebook.com/910290695691457/videos/915821178471742/

Quote of the Day:

“The best kind of happiness is a habit you're passionate about.” 
― Shannon L. Alder

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Fun Friday Basketball Hoop

Friday Basketball Hoop

A wonderful student of mine said she thinks about making the shape of a basketball hoop with her arms when they are in fifth en avant (first). This is a great image and when teaching this arm position an instructor could even throw some soft Nerf balls through the “hoop” to demonstrate correctly shaped arms.

This concept is important because a major problem is often a drooping elbow or two (and Ballet Statute # 18 states: “There is no drooping in ballet.”) If the elbow droops, the position squashes inward (see Ballet Statute #48: There is no squashing in ballet) http://balletwebb.blogspot.com/2015/10/super-saturday-squash.html and there isn’t  enough room between the dancer’s hands and torso for a Nerf ball to pass through. Scary.

So try shooting a few “hoops” in your next ballet class!

From the Big Blue Book of Ballet Secrets:

Ballet Secret #6hh:  

“The arms in fifth en avant (first)have the shape of a basketball hoop.”

                Link of the Day:

https://www.youtube.com/watch?v=R6SpOgejK9g

Quote of the Day:

“Being a professional is doing the things you love to do, on the days you don't feel like doing them.”

-Julius Irving

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Throwback Thursday and Janet Collins

Throwback Thursday and Janet Collins

Before Misty Copeland, before Lauren Anderson and other black ballerinas, there was Janet Collins. She was born in New Orleans, Louisiana on March 7, 1917. At age five, her family moved to Los Angeles where she began her dance studies with Lester Horton and Adolph Bolm – two teachers that would accept a black student.

At age fifteen, she auditioned for Leonid Massine, ballet master of the Ballet Russe de Monte Carlo and he offered her a position with the company. But when she was told she would have to use white make-up on her face and body in order to perform, she chose not to join the company. Instead, she headed to New York and in 1951 became the first black ballerina in the Metropolitan Opera Ballet Company.

She also performed on Broadway and won the Donaldson Award for best dancer on Broadway for her role in Cole Porter’s Out of This World. She continued to dance into her late forties, until she retired from performing in 1955. It was the same year Arthur Mitchell http://balletwebb.blogspot.com/2014/01/throwback-thursday-and-arthur-mitchell.html was hired by the New York City Ballet. She went on to teach at The School of American Ballet and at Manhattanville College.

Later, she joined a Benedictine order as an oblate and also became an accomplished painter. Janet Collins died in 2003 in Fort Worth, Texas. She was 86.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #104:  

“Janet Collins was an early black ballerina who helped pave the way for those who followed.”

                Link of the Day:

https://www.youtube.com/watch?v=2BDnJHQHxAM

Quote of the Day:

“You may encounter many defeats, but you must not be defeated. In fact, it may be necessary to encounter the defeats, so you can know who you are, what you can rise from, how you can still come out of it.” 
― Maya Angelou

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Wacky Wednesday Passé Holder

Wacky Wednesday Passé Holder

Dancers must maintain a solid position during any turning movement. In an attempt to do this, sometimes, especially in pirouettes, the temptation is to rest the passé foot on the knee as though there were a “passé holder” strapped around the knee. Nope. There is no such thing, nor should there be. There is no Amazing Ronco Passé Holder. It doesn’t exist.

Instead, the foot touches the knee but never rests or leans against the supporting leg. The position is supported by the muscles in the working leg and the correct use of turn-out, etc., etc… No surprise here. If the foot does lean against the knee, the alignment will be compromised simply because the correct muscles aren’t being engaged, and the whole turning enterprise will ultimately fail. Sigh.

Throw away any passé holders!

From the Big Blue Book of Ballet Secrets:

Ballet Secret #14z:  

“ You do not need a “Ronco” passé holder for pirouettes.”

                Link of the Day:

https://www.youtube.com/watch?v=qRJtMgD6ia8

Quote of the Day:

“You need to spend time crawling alone through shadows to truly appreciate what it is to stand in the sun.”
― Shaun Hick

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Technical Tuesday Arabesque

Technical Tuesday Arabesque

The word “arabesque” has several different meanings, including the one every dancer knows:  “a pose in ballet in which the dancer stands on one leg with one arm extended in front and the other leg and arm extended behind.”  But how did this position come to be called arabesque? If a dancer extends her leg devant, this position doesn’t have a name other than croisé or effacé devant . A leg extension derriere is also referred to as  croisé or efface derriere but most often is called arabesque. Why is there no corresponding “extra” name for an extension devant? And how and when did the term arabesque become used in ballet?

Other definitions include one in the fine arts area: “a sinuous, spiraling, undulating, or serpentine line or linear motif”; and one in the musical area: “a short, fanciful musical piece, typically for piano”. The origin of the word itself comes from the French, derived from the Italian arabesco in the early 1600s, which means an ornament in the Islamic style, literally Arabian;  and the ABT online dictionary (http://www.abt.org/education/dictionary/terms/arabesque.html ) and the Technical Manual and Dictionary of Classical Ballet by Gail Grant state that arabesque takes its name from a form of Moorish ornament.

So. It appears that the position called arabesque was so beautiful and reminiscent of a lovely Moorish ornament that it earned its own specific name.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #18s:  

“The word “arabesque” has several different meanings.”

                Link of the Day:

https://www.youtube.com/watch?v=MsVZUCZav4k

Quote of the Day:

“Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears.”
― Edgar Allan Poe

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Marvelous Monday Paper Dolls

Marvelous Monday Paper Dolls

One of the biggest problems dancers have during turning movements is keeping the body (torso) in one piece. The tendency is to twist, usually in the direction of the turn. And a twisted torso doesn’t turn well. A solid body position must be maintained.

It helps if dancers imagine themselves as paper dolls – flat, with no twisting allowed. A twisted paper doll is pretty useless, just as a twisted body position is useless for dancers. But a solid, flat paper doll position will turn much more effectively.

Study videos of dancers performing multiple pirouettes and notice how flat and solid the dancer’s position is during the turns (see today’s Link of the Day).

From the Big Blue Book of Ballet Secrets:

Ballet Secret #14y:  

“Imagine yourself as a paper doll – flat without twisting, during turns.”

                Link of the Day:

https://www.youtube.com/watch?v=i_u3rsSE7gc

Quote of the Day:

“Success is not final, failure is not fatal: it is the courage to continue that counts.”
― Winston S. Churchill

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Happy Valentine's Day

Happy Valentine's Day!

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Saturday Tuck Under Statute

Saturday Tuck Under Statute

A commonly heard directive in a dance class is “Tuck under!”, but this shouldn’t literally happen in ballet. The reason teachers say it is because students tend to stick their seats out and arch their backs. Instead, they need to place the pelvis back in its neutral position. But at no time should the pelvis actually tuck under.

The pelvis maintains a neutral position almost all the time, except in extensions to the back such as arabesque. And not only does the pelvis keep a nice, neutral position, but from that position there should be a lift upward. This allows the femur more freedom to rotate in the hip socket. When this rotation occurs there is a visible indentation in the muscles of the seat. This is what “tucks” inward – not the pelvis itself.

Therefore, the muscles “tuck”, not the bones.

From the Big Blue Book of Ballet Secrets:

Secret #15p:  

“The pelvis never literally “tucks under” in ballet.”

                Link of the Day:

https://www.youtube.com/watch?v=JW1qQ48UPzk

Quote of the Day:

“I speak to everyone in the same way, whether he is the garbage man or the president of the university.”
― Albert Einstein

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Fun Friday Mountain Peak

Fun Friday Mountain Peak

When working at the barre, the arm on the barre must be relaxed and slightly forward (Ballet Secret #7ll: Stand far enough away from the barre for the barre arm to relaxed and slightly in front of the body.) The important word here is “relaxed”. If the arm isn’t relaxed, the elbow creeps upward, the corresponding shoulder lifts, and it appears as though a small elbow mountain peak has appeared between the dancer and the barre.

This usually happens because the dancer’s alignment is off, and the barre arm is attempting to wrestle the dancer’s weight into position. Sometimes the balance is so far off that the dancer actually lifts a portable barre off the floor! Scary.

So on this Fun Friday, avoid mountain peaks and pay extra attention to the arm that is on the barre.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #22p:  

“ The barre elbow must not lift and look like a mountain peak.”

                Link of the Day:

https://www.facebook.com/CorellaDanceAcademy/videos/1668177836771195/

Quote of the Day:

“Every mountain top is within reach if you just keep climbing.”
― Barry Finlay

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