Sunday Holding Back

Sunday Holding Back

What’s holding you back? Fear? Sadness? Worry? Notice how the usual suspects are negative. Seldom do positive things or thoughts hold a person (or dancer) back.

This can manifest physically: holding back before a difficult step or pirouette causes a poor preparation and causes the whole operation to fail. Or, it can manifest in life: holding back and not attending a job interview (or audition) due to fear of failure assures failure.

So, the first step is to identify those culprits that are holding you back. Then you can take steps (no pun intended) to fight them. Those steps can range from replacing negative thoughts with positive ones (always a good strategy), reading or watching motivational material; or, if you can’t do it alone, seeking help from a professional who is knowledgeable about your particular needs.

                                                                       

From the Big Blue Book of Ballet Secrets:

Motivational Secret #158

“What’s holding you back?”

Link of the Day:

https://www.psychologytoday.com/blog/get-out-your-mind/200906/holding-back-life

Quote of the Day:

“You never lose by loving. You always lose by holding back.”
― Barbara De Angelis

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Saturday Holding Statute

Saturday Holding Statute

Turning blue is frowned upon in ballet. Therefore, Ballet Statute #76 states: “Never hold your breath while dancing.”. This sounds so simple, but it is an easy rule to break.

Holding one’s breath is a habit and usually an unconscious one. It happens often when a dancer is tense, worried or confused – and serves only to exacerbate the problem. Oxygen is essential for effective performance, or even for effective living!

There are many ways to break this habit, but the most important is to become aware of those times when you are holding your breath. Usually this is all it takes – awareness. Other things can include conscious relaxation, and making sure to relax your neck and jaw muscles.

Also, remember to breathe through your nose and not your mouth.  

    

From the Big Blue Book of Ballet Secrets:

Ballet Statute #76

“Never hold your breath while dancing.”

Link of the Day:

https://www.youtube.com/watch?v=vh04aYbZRN4

Quote of the Day:

“Feelings come and go like clouds in a windy sky. Conscious breathing is my anchor.”
― Thich Nhat Hanh

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Fun Friday Sharp

Fun Friday Sharp

Is there anything worse than a sluggish dégagé?  Maybe a sluggish grand battement? Hmmm. Since dégagés occur early in class, they sometimes do succumb to the sluggish category, and this is to be avoided at all costs.

Remember those infomercials for Ginsu knives that demonstrated how swiftly and efficiently the knives sliced through things like tomatoes? That’s how to think about dégagés. Like a Ginsu knife. Dégagés should slice just that swiftly and sharply through the air, cutting a clean path.

You can even imagine the swooshing, whooshing sound that would be created with this action.

                                                                       

From the Big Blue Book of Ballet Secrets:

Ballet Secret #4s:  

“Imagine dégagés slicing through the air those sharp Ginsu knives seen on infomercials.”

Link of the Day:

https://www.youtube.com/watch?v=wijJ72pC4Rc

Quote of the Day:

“Being smart as a whip includes knowing when not to crack it.”
― Vera Nazarian, The Perpetual Calendar of Inspiration

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Throwback Thursday and Debra Austin

Throwback Thursday and Debra Austin

Before Misty Copeland, there were other African American dancers who paved the way for those who followed. I’ve blogged before about some of them:

http://balletwebb.blogspot.com/2014/01/throwback-thursday-and-arthur-mitchell.html

http://balletwebb.blogspot.com/2014/02/throwback-thursday-and-josephine-baker.html

http://balletwebb.blogspot.com/2015/02/throwback-thursday-and-raven-wilkinson.html

http://balletwebb.blogspot.com/2015/02/throwback-thursday-and-florence-mills.html  

       

                     

Debra Austin was only twelve years old when she received a scholarship to study at the School of American Ballet. By the time she was 16, she had joined New York City Ballet, as its first African American female dancer. Here she danced principal roles including works by several renowned choreographers including George Balanchine and Jerome Robbins.

Later, she joined the Zurich Ballet in Switzerland, again dancing principal roles. She spent the next years touring Europe, and when she returned to the United States she was invited to join Pennsylvania Ballet as a principal dancer. She thus became the first African American ballet dancer to receive a principal contract with a major ballet company. (http://www.newsobserver.com/entertainment/arts-culture/article89451022.html#storylink=cpy)

Today, Debra Austin is Ballet Master for Carolina Ballet.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #120

“Debra Austin was the first African American ballet dancer to become a principal dancer with a major American ballet company.”

Link of the Day:

https://www.youtube.com/watch?v=Du8wKqYakfE

Quote of the Day:

“Mediocrity knows nothing higher than itself; but talent instantly recognizes genius.”
― Arthur Conan Doyle, The Valley of Fear

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Wacky Wednesday Pliés and Peanut Butter

Wacky Wednesday Pliés and Peanut Butter

I’ve blogged several times about resistance and how important it is in ballet technique.   

             

http://balletwebb.blogspot.com/2014/10/marvelous-monday-and-gravity.html

http://balletwebb.blogspot.com/2016/04/mad-monday-mittens.html

http://balletwebb.blogspot.com/2015/11/wacky-wednesday-marshmallows.html

http://balletwebb.blogspot.com/2015/02/technical-tuesday-suspenders.html

http://balletwebb.blogspot.com/2015/09/wondrous-wednesday-lateral-shift.html

So, here is yet another way to think about it, from the very beginning of class: pliés. Since pliés occur first, (or close), it is easy for some carry-over drooping to occur. Scary.

 Instead, during each plié, imagine descending and ascending through peanut butter. Smooth, creamy, peanut butter. If you are allergic to peanuts, imagine soy butter, or even thick apple butter. Any butter will do.

This provides enough resistance to produce better plies, and avoid carry-over drooping syndrome.

Peanut butter makes it better.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #2w

“Imagine moving through peanut butter.”

Link of the Day:

https://www.youtube.com/watch?v=ztxAlN_qOL8

Quote of the Day:

“I believe in the magic and authority of words.”
― René Char

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Technical Tuesday Sternocleidomastoid

Technical Tuesday Sternocleidomastoid

The sternocleidomastoid (SCM) is one of the most fascinating muscles in the body. It is actually a two-part muscle, with one on each side of the neck.  Each one is thick and narrow in the center, and wider and thinner at each end. These muscles begin behind the ears and move down to the front of the neck. The SCM assists in rotating the head from side to side, and also allows the head to incline. This is critical for ballet dancers, to say the least! But wait, there’s more!

The sternocleidomastoid allows the neck to flex and turn and without it cambrés and backbends would be impossible. If this isn’t enough, it also acts as an accessory muscle of respiration –whew!  You can see and feel the SCM when you turn your head all the way to the side.

The SCM is not a frequently injured muscle in dancers, since overuse pain is usually caused by looking up for too long (painting a ceiling or staring at the stars), etc. But if it does become inflamed, symptoms can include things like headaches or dizziness.

The next time you admire a dancer’s lovely epaulement, remember to thank the ability of that fun-to –pronounce muscle, the sternocleidomastoid.

                                                                       

From the Big Blue Book of Ballet Secrets:

Anatomical Secret #25p

“The sternocleidomastoid is one of the most fascinating muscles in the body.”

Link of the Day:

https://www.youtube.com/watch?v=ZPvg4n3DVus

Quote of the Day:

“The brain is like a muscle. When it is in use we feel very good. Understanding is joyous.”
― Carl Sagan

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Marvelous Monday Overpass

Marvelous Monday Overpass

In a rond de jambe à terre, the movement must be smooth and not have any bumps in it. Bumps are generally avoided in most areas of classical ballet. To perform a rond de jambe correctly, a lift in the pelvis (and in the overall posture) must be maintained, and sinking (gasp!) must not happen.

It’s like a highway overpass. It must be high enough for a tall tractor-trailer to whoosh easily beneath it. If the overpass is too short or in bad repair and drooping – crash!

Always keep the overpass tall and strong.

           

From the Big Blue Book of Ballet Secrets:

Ballet Secret #22c:

“In a rond de jambe, the pelvis must stay lifted to allow the working leg to pass through first position smoothly.”

Link of the Day:

https://www.youtube.com/watch?v=Mr2Fq-0Qt2I

Quote of the Day:

“Doing nothing for others is the undoing of ourselves.”
― Horace Mann

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Sunday R

Sunday R

There are lots of “R”s in our life. We think we’ll be happy if we win the lottery and become rich. We think when we meet Mr. or Ms. Right we’ll have the perfect relationship that will make us happy. Dancers think when they get into this company or that company or get the perfect role they’ll finally get the recognition that will make them forever happy.

Nope. Happiness is fleeting, we all know, but the secret to lassoing it more often  lies in another “R”: a Readjusted Mental Attitude. I’ve blogged on many subjects, but most of them are related to this simple idea: you can’t always change your circumstances but you can always readjust your attitude to them.

When there is a choice (and there is always a choice) to respond positively or negatively, actively pursue the positive. Every day remind yourself of those things you have right now that make you happy. Readjust.

That’s the secret. That’s the big “R” for happiness.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #157

“Remember the “R” of happiness.”

Link of the Day:

https://www.youtube.com/watch?v=seDIq_hq-MQ

Quote of the Day:

“Keep your face always toward the sunshine - and shadows will fall behind you.”
― Walt Whitman

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Saturday Ready

Saturday Ready

“Be ready”. Here is a Ballet Statute that can go in many directions. Webster’s Dictionary defines “ready” as: 1. Prepared for immediate use or action; 2. willing; 3. immediately available, handy; and 4. prompt, facile, quick.

In a dance class, all definitions of ready are essential. Come into class with a heightened awareness, a willingness to work and a readiness to learn and absorb as much as possible. Be ready when the music starts and the dance combination is about to begin.

When moving across the floor be ready when your turn comes, and don’t hesitate. The teacher or accompanist should never have to start over because a dancer wasn’t ready.

Be quick to learn combinations, and be willing to accept corrections. Be available, both mentally and physically during class.

When you think about it, today’s Ballet Statute could easily be a life statute. Hmmm.

               

From the Big Blue Book of Ballet Secrets:

Ballet Statute #117  

“Be ready.”

Link of the Day:

https://www.youtube.com/watch?v=rbcAaS3BOmg

Quote of the Day:

“Opportunity doesn't make appointments, you have to be ready when it arrives.”
― Tim Fargo

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Fun Friday Over Spot

Fun Friday Over Spot

Spotting is an essential component of successful turns. Dancers know this, and so they not only do it – they overdo it (no surprise here).

Instead of keeping the head level and in line, dancers sometimes stay focused on their spotting area too long. If the eyes focus too long on the spot, the head tilts and twists instead of snapping quickly around in a good, level position. I call it over-spotting. This not only slows down the revolution, it disturbs the whole alignment. Scary.

Remember to spot with the rhythm of the music, and this will help the head move quickly and not linger too long focusing on the spot.

                                                                       

From the Big Blue Book of Ballet Secrets:

Ballet Secret #14aa

“Beware of over-spotting.”

Link of the Day:

https://www.youtube.com/watch?v=yIh_vwaD2c8

Quote of the Day:

“To accomplish great things we must not only act, but also dream; not only plan, but also believe.
(From an introductory speech at a session of the Académie Française, December 24, 1896)”
― Anatole France

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Throwback Thursday and Patricia Neary

Throwback Thursday and Patricia Neary

Patricia Neary was born in Miami on October 27, 1942. Her early training was received from George Milenoff and Thomas Armour , and the School of American Ballet. She is best known as a Balanchine ballerina, but her career began when she joined the National Ballet of Canada at age fourteen.

She moved to New York three years later and joined The New York City Ballet. She danced virtually everything in the repertory, plus working with other choreographers (Jerome Robbins, Merce Cunningham, Anthony Tudor) in ballet and in more contemporary works.  

In 1970 she became Assistant Director of the Berlin Ballet, then over the years went on to assume the directorship of  several other companies including: Geneva Ballet, Zurich Ballet, La Scala Ballet, and Ballet British Columbia.

Since 1988 she has worked for the George Balanchine Trust, staging his works around the world.

         

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #119

“American ballerina Patricia Neary joined the National Ballet of Canada when she was fourteen."

Link of the Day:

https://www.youtube.com/watch?v=rJ8EEskilKw

Quote of the Day:

“Begin somewhere. You cannot build a reputation on what you intend to do.”
― Liz Smith

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Wacky Wednesday Shrug

Wacky Wednesday Shrug

Shoulders that warm the earlobes are, unfortunately, a problem for some dancers. This habit is usually a sign of too much tension or even anxiety.

To help with this, have students shrug strongly, pulling the shoulders up to the ears, then have them relax totally, allowing the shoulders to fall back into a natural, relaxed position. Repeat. 

This will not only help provide necessary relaxation, it will allow the students to feel exactly where the shoulders should be for proper alignment.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #1zz  

“To feel the correct downward energy in the shoulders, shrug and relax.

Link of the Day:

https://www.youtube.com/watch?v=dqk91KgdTn0

Quote of the Day:

“Looking at beauty in the world, is the first step of purifying the mind.”
― Amit Ray

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Technical Tuesday Rotator Cuff

Technical Tuesday Rotator Cuff

A common injury in dancers and other athletes involves the rotator cuff. Caused by overuse of the arms, it is seen most often in male dancers, due to things like overhead lifts, but it can also occur in females.

The rotator cuff is actually a group of muscles and tendons in the shoulder that form a kind of cuff around the humerus – hence the name. This group of muscles and tendons connect the shoulder blade (scapula) to the upper arm (humerus), and provide stability to the area, allowing easy movement, including rotational movement. These muscles and tendons are:  Teres minor, Infraspinatus, Supraspinatus, and Subscapularis. More than you wanted to know? Okay.

The important thing to remember is that injuries in this area are usually overuse injuries, although falls or accidents can be other culprits. Dancers should stop lifting (or other arm movements), if pain is present. No surprise here.  

         

From the Big Blue Book of Ballet Secrets:

Anatomical Secret #25o:  

“Problems with the rotator cuff are common in dancers and other athletes.”

Link of the Day:

https://www.youtube.com/watch?v=qj87kCy5HOk

Quote of the Day:

“The possession of knowledge does not kill the sense of wonder and mystery. There is always more mystery.”
― Anaïs Nin

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Mad Monday Sideways

Mad Monday Sideways

Side seams on clothing and leotards are useful things. When used as directional guides, like lines on a highway, they serve a wonderful purpose. They can be used to check on postural alignment (is the torso straight?); or as a way to keep a sideways stretch truly sideways.

When stretching with one leg on the barre, often a sideways stretch doesn’t align correctly – especially for beginners. There is a perverse tendency for the stretch to go slightly backwards, or become twisted. If students imagine stretching the side seam of their leotard however, the stretch will go directly to the side.

I’m sure there are many other uses for the underappreciated side seam, but the barre stretch is one of the best.

                                                                       

From the Big Blue Book of Ballet Secrets:

Ballet Secret #16s

“When stretching sideways, imagine stretching the side seam of your leotard.”

Link of the Day:

https://www.youtube.com/watch?v=snhCK_lYR5s

Quote of the Day:

“Stop in somebody's shadow to rest and cool down, and you are lost. No one can make anyone else happy.”
― Peter Deunov

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Sunday Single

Sunday Single

This morning I saw a news report about a coffee shop in Virginia that reduces the price of a cup of coffee if the customer requests it by using the word please. They said it started as a joke but became so popular they continued it.

It made me think about how powerful a single word can be.  Simply adding the word “please” makes the request kinder. And that’s something the world can always use more of – kindness.  I’ve blogged before about the importance of kindness, and how a single act of kindness elevates both the giver and  the receiver. Everyone benefits.

This week think about what single word you can add to your interactions to make the world a little better, a little kinder and a little more compassionate.

                                                                       

From the Big Blue Book of Ballet Secrets:

Motivational Secret #156  

“Remember the power of a single word.”

Link of the Day:

https://www.youtube.com/watch?v=xjNnnsIC9G8

Quote of the Day:

“…do something tangible every day to increase the happiness of mankind.”
― Christian D. Larson

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Saturday Grumble

Saturday Grumble

Dancers like to complain. I’m not sure why, but it seems to be an epidemic. Usually these complaints are subtle, and tend to take the form of grumbling.

According to the Merriam Webster Dictionary, the simple definition of grumbling is:

1.       to complain quietly about something : to talk in an unhappy way

2.        to make a low, heavy sound 

I suspect that dancers grumble because it allows quiet venting. But there is no grumbling allowed in ballet. None. Never. It puts the dancer’s focus on negative things and we all know how counterproductive that is!

Therefore, stamp out grumbling. Anytime it sounds like a thunderstorm is approaching inside a classroom (grumble grumble), it is time to change to a more positive mental focus.

                                                                       

From the Big Blue Book of Ballet Secrets:

Ballet Statute #74:  

“There is no grumbling in ballet.”

Link of the Day:

https://www.youtube.com/watch?v=8VkoXc4oO7c

Quote of the Day:

“Never tell your problems to anyone...20% don't care and the other 80% are glad you have them.”
― Lou Holtz

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Fun Friday Fast

Fun Friday Fast

After a dance student becomes comfortable with the steps (after years of training), the next step in the process is increasing speed and accuracy.

Accuracy is a constant challenge, and speed is too. The problem occurs when a pupil attempts greater speed in a combination, and their accuracy suffers. This is a natural part of the process. Eventually, with time and repetition, both skills will improve.

To assist in achieving speed, students must guard against becoming tense. This too, is common. And, although it seems counterintuitive, in order to move faster, relaxation is the key. Not the melt-into-the-floor type of relaxation, but the kind that allows freedom of movement.

Try waving with a tense hand and arm, and then relax and wave. You’ll see what a difference it makes.

                                                                       

From the Big Blue Book of Ballet Secrets:

Ballet Secret #7iii  

“To move fast, relaxation is the key.”

Link of the Day:

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

Quote of the Day:

“You are a valuable instrument in the orchestration of your own world, and the overall harmony of the universe. Always be in command of your music. Only you can control and shape its tone. If life throws you a few bad notes or vibrations, don't let them interrupt or alter your song.”
― Suzy Kassem

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