Wild Wednesday Scratch

Wild Wednesday Scratch      

A common problem in ballet technique is achieving a fully straightened leg.  This is particularly true in an arabesque position where there is a tendency for the leg to almost – but not quite – straighten. 

When the leg in question is a supporting leg, a slightly bent leg becomes an even bigger problem.  A straight knee is a safe knee, but when it is slightly relaxed it is possible to twist it slightly – not good!  This is one of the most common ways that dancers injure their knees. 

To help students feel the sensation of a correctly straightened leg, have them “scratch behind” their knee.  This allows them to tune in to the feeling they need to achieve whenever they straighten their legs. 

From the Big Blue Book of Ballet Secrets:

Secret #7t:  

“To feel the muscles used when the knee is straight, scratch behind the knees.” 

                Link of the Day:

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

 Quote of the Day:

“If you don’t know where you are going, you will probably end up somewhere else.

-Lawrence J. Peter

 

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Tuesday Spiral Staircase

Tuesday Spiral Staircase

An attitude turn is an interesting animal.  Like an arabesque turn, the dancer’s central axis does not come from the supporting foot upward in a straight line that exits through the top of the head.  Rather, it comes from the supporting foot straight up through the supporting leg and exits in the mid to lower back (and on upward to infinity).  This is the same central pole position as in a stationery attitude (or arabesque) position, because an attitude turn is, not surprisingly, an attitude that just happens to turn.

It helps to imagine a spiral staircase.  If you look at a photograph of such a staircase, you can see the central pole of support with the stair steps themselves spiraling upward around it.  This is what happens in an attitude turn.  The position spirals around a central axis.  The dancer’s head is never directly above the supporting foot as it is in other turns.  Instead, it follows a wider circular path, around and upwards – like the stairs on a spiral staircase.

From the Big Blue Book of Ballet Secrets:

Secret #14f:  

“In an attitude turn, imagine a spiral staircase.”

 

                Link of the Day:

http://www.youtube.com/watch?v=nbCdrKrAOmk&safe=active 

Quote of the Day:  

“When one door closes, another opens; but we often look so long and so regretfully upon the closed door that we do not see the one that has opened for us.

-Alexander Graham Bell

 

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Monday and the Invisible Wall

Monday and the Invisible Wall

There is an imaginary center line of the body that is seldom crossed by the arms.  It runs down the center of the chest to the belly button and extends out, away from the body and forward.   I tell my students to picture it as an imaginary, solid brick wall. This is so their arms won’t over cross – especially in port de bras associated with steps like balancé.

Port de bras often appear different to an observer than what they are.  That is, the path that the arms actually travel are simple and direct, (usually), and seldom cross the “brick wall” line.  The illusion of more movement is created because the torso itself moves, or twists.  The brick wall maintains itself, however, always projecting out from the center line of the body, preventing excess movement in the arms. 

From the Big Blue Book of Ballet Secrets:

Secret #6r:  

“Imagine a brick wall extending out and forward from the center of the torso.”

  

                Link of the Day:

https://www.youtube.com/watch?v=dSAOV6XEjXA&list=PLLsjZ5GSha-a2WtQthbt9t77tf357X02d

Quote of the Day:

 

“The brick walls are there for a reason. The brick walls are not there to keep us out. The brick walls are there to give us a chance to show how badly we want something. Because the brick walls are there to stop the people who don’t want it badly enough. They’re there to stop the other people.”
― Randy Pausch, The Last Lecture

 

 

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Sunday Contagion

Sunday Contagion

Dancers tend to be complainers.  I don’t know if it is because we are always tired, always working toward a perfection that is by its very nature unobtainable; or because we are often nursing some kind of injury.  Whatever the reason, complaining seems to be endemic in the population.

Now, it can be good – once in a while – to vent, but generally a positive attitude is the best approach.  Happiness is contagious!  Try spreading it, even if you don’t really feel like it.  You’ll soon see how highly contagious happiness is.

Try starting with a simple smile.  Smile (sincerely) at someone and watch what happens.  Remember that everyone has burdens to carry and the smile you give them might be just enough to lighten their load.  You might even get a smile back, and then you too will be “infected”! 

From the Big Blue Book of Ballet Secrets:

Motivational Secret #23:  

“Happiness is contagious.”

 

                Link of the Day:

https://www.youtube.com/watch?v=NrjeClBR2QQ

 

Quote of the Day:

“Whoever is happy will make others happy too.  He who has courage and faith will never perish in misery.”

-Anne Frank

 

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Super Saturday Affectionate Changements

Super Saturday Affectionate Changements

One of the first jumps a dancer learns is a changement de pieds, usually shortened to changement.  It is a jump from fifth to fifth, and can be small or large.  The words mean to change the feet, and that is exactly what happens:  they change position in the air.  If the right foot starts in front in fifth position, it lands in the back.

A common problem is this:  the foot landing in the back never makes full contact with the floor, and this causes the heel to be raised upon landing.  This is a big problem because it can cause injuries because the cushioning nature of the plié is not being allowed to happen. 

Usually the reason dancers fail to get the whole foot on the floor is because their weight is not distributed over both feet when they land in plié.  Often the seat goes out, the weight is thrown forward, and the back foot cannot complete the necessary plié upon landing.

To help with this, imagine that both heels must be able to gently “kiss” the floor on each landing.

 

From the Big Blue Book of Ballet Secrets:

Secret #15i:  

“To achieve a good plié upon landing in a changement, imagine the heels ‘kissing’ the floor.”

                Link of the Day:

                http://www.youtube.com/watch?v=sC9WgwBTMqY&safe=active

 Quote of the Day:

“When we are no longer able to change a situation, we are challenged to change ourselves.”

-          Victor Frankl

 

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Fun Friday Vacuum

Fun Friday Vacuum

I’ve blogged before about how there is always a pulling away from gravity (since we can’t turn it off), as well as the sensation of sending energy in all directions.  Today I’m adding another element:  the sensation of being pulled down into the floor.  This feeling of “becoming one with gravity” is essential.  It grounds the dancer, giving the steps a confident quality, as well as making a dancer more secure.  The amount of downward energy always matches the amount of energy that is going upward from the top of the head.

To achieve this equal and opposite pull, imagine two vacuums:  one attached to the head and the other under the feet (or foot) on the floor.  Both vacuums are turned on and set for maximum suction! 

From the Big Blue Book of Ballet Secrets:

Secret #7s:  

“Imagine two vacuums:   one attached to the head and the other under the feet.”

                Link of the Day:

https://www.youtube.com/watch?v=tV3SWjrt2rE       

 

Quote of the Day:

“Obstacles are those frightful things you see when you take your eyes off your goal.”

-Henry Ford

 

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Throwback Thursday and Diaghilev

Throwback Thursday and Diaghilev

Russian impresario Serge Diaghilev (1872-1929) changed dance forever with his groundbreaking dance company The Ballet Russe (1909-1929).  This company brought together some of the best dancers, artists and composers of the day, producing works that thrilled – and sometimes shocked – audiences.

Diaghilev was not a dancer or choreographer himself (he was a law student), but he was a genius when it came to recognizing and nurturing talent in others.  Those he worked with included:  Picasso, Stravinsky, Matisse and Nijinsky, among many others; and thus The Ballet Russe became a veritable breeding ground for innovation.

Despite the fact that his company revolutionized ballet, Diaghilev’s Ballet Russe, like so many dance companies today, was often on the verge of bankruptcy.  Yet somehow he managed to keep it afloat, leaving a legacy that endures.  Today ballet students are taught by teachers who were taught by teachers who were either in, or influenced by, The Ballet Russe.

Without Diaghilev, ballet would be very different.  Would it exist at all? 

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #26:

“Serge Diaghilev revolutionized ballet, yet he wasn’t a dancer or choreographer.”

 

                Link of the Day:

http://www.youtube.com/watch?v=CNcC_BeXBCQ&safe=active           

 

Quote of the Day:

“Carve your name on hearts, not tombstones.  A legacy is etched into the minds of others and the stories they share about you.”

- Shannon L. Alder

 

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No Giving Up

No Giving Up

Yes, it is time for yet another Ballet Statute!  Dancers learn this one on the very first day of class:  There’s no “giving up” in ballet!  There are lots of things in ballet, but giving up is not one of them.

Corollary:  A dancer may choose to discontinue their dance studies and go on to study something else, but this is not classified as giving up.  It is simply selecting a different path.

During dance class there is definitely no giving up.  If a step doesn’t work, or a dancer falls down (gasp!), then she tries again.  And again.  And probably again.  Giving up is not an option.  It is this drive that makes a dancer a dancer.  Dancers develop not only technique but determination.

So, remember:  there is no giving up in ballet.  Dancers must have the tenacity of a dollar weed! 

From the Big Beige Book of Ballet Statutes:

Statute #17:  

“There is no giving up in ballet.”

 

                Link of the Day:

                http://www.youtube.com/watch?v=CmUZ-M8ZWnc&safe=active

 

Quote of the Day:

“When things go wrong, don’t go with them.”

-Elvis Presley

 

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Terrific Tuesday Temps de Fleche

Terrific Tuesday Temps de Fleche

Temps de fleche is not a common step, but it is often found in several famous classical ballets such as Corsaire and Paquita.  It is essentially a jump from one foot to another, often with an extended kick when it is performed to the front;  or with both legs in attitude when it is done to the back.

One image that seems to work well for this step when it is done to the front is the bow and arrow.   The word “fleche” means arrow.  The first leg battements devant in attitude; and the second movement is a developpe kick that passes the first leg and extends upward, as the first leg returns to the ground.  Think of the first battement leg as the bow, and the next leg as the arrow shooting up to the sky. 

From the Big Blue Book of Ballet Secrets:

Secret #15h:

“Imagine a temps de fleche devant as a bow and arrow.”

                Link of the Day:

                https://www.youtube.com/watch?v=2fQJb6hLJ24

Quote of the Day:

“Failure is unimportant.  It takes courage to make a fool of yourself.”

-Charlie Chaplin

 

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Monday Soubresaut

Monday Soubresaut

Yes, the Easter Bunny has returned to his burrow until next year, but there is a step in ballet that makes me think of hopping bunnies:  the soubresaut.  It is named well, since soubre means sudden and saut refers to jumping.  The jump is also the basis for the temps de poisson step which adds an arched position of the body.

It makes me think of rabbits because it is simply a “straight up” jump done from fifth that lands in fifth.  It can stay in place, or travel in any direction.  It is the traveling version that makes me think of a hopping bunny.

This jump is often introduced early in a dancer’s training, since it teaches the student to jump and return to the same position without deviation.  It also teaches the necessary “rebound”  so critical to good balon.     

From the Big Blue Book of Ballet Secrets:

Secret #15g:  

“The term soubresaut comes from the words meaning ‘sudden’ and ‘jump’.”

 

                Link of the Day:

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

 Quote of the Day:

“Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.

-Antoine de Saint-Exupéry 

 

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Easter Sunday

Easter Sunday

Have a wonderful holiday!  Enjoy every moment you spend with your family and friends.            

 

From the Big Blue Book of Ballet Secrets:

 “Have a wonderful day!”

 

                Link of the Day:

https://www.youtube.com/watch?v=dePmC_mE-b4

 Quote of the Day:

“It is difficult to say what is impossible, for the dream of yesterday is the hope of today and the reality of tomorrow.”

-Robert H. Schuller

 

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Super Saturday B’s Knees

Super Saturday B’s Knees

It’s Saturday and time to talk about the position known as “B Plus”.  This is the “resting” position used prior to, or in between other steps.  Often dancers will forget to put their knees together, and the working foot will turn in – that is, the top of the toes will be resting on the ground.

What should happen is this:  the knee area is “kissing” and the rotation in the hip sockets is engaged so that the working leg turns out and this  correctly places the edge of the big toe of the working foot on the ground – not the top of the toes.

So in B Plus, kiss the knees and rotate the legs in the hips socket! 

From the Big Blue Book of Ballet Secrets:

Secret #19a:  

“In B Plus, remember to kiss the knees and rotate the legs.”

  

                Link of the Day:

https://www.youtube.com/watch?v=DqIQGmnj1iU

Quote of the Day: 

“Believe you can and you’re halfway there.”

-Theodore Roosevelt

 

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Fun Friday and Feet

Fun Friday and Feet

There are many ways to think about how to use the feet efficiently.  Some are dependent upon the particular step being performed, but many are useful all the time.  The basic idea is that the feet should “slurp”, or work along the floor almost as though there are no bones in the feet.  This involves using the demi-pointe position as the foot moves along the floor, both in and out.

Dancers often forget to use this critical interim position and instead go directly from flexed to pointed, with the foot making minimal contact with the floor.  To help with the use of the demi-point transitional moment, teachers often say “go through the foot”, or “use the whole foot”.

One image that works well involves chocolate. (Doesn’t chocolate make everything work well?) It is similar to a previous image involving ice cream.   Imagine that the floor made of high quality chocolate and the foot glides along it, “tasting” every moment.  

From the Big Blue Book of Ballet Secrets:

Secret #16f:  

“Imagine the floor is made of chocolate, and “taste” it with the feet.”

 

                Link of the Day:

                http://www.youtube.com/watch?v=2ZIJgN4LGN4&safe=active

 

Quote of the Day:  

“Every strike brings me closer to the next home run.”

-Babe Ruth

 

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Throwback Thursday and Marius Petipa

Throwback Thursday and Marius Petipa

Marius Petipa is often called the father of classical ballet, or even the inventor of classical ballet.  He was born in Marseille on March 11, 1822 and was encouraged by his choreographer father to follow in his footsteps.  Originally Marius did not care for the art form, but over time that changed.

Marius and his father traveled and performed in many countries, but following a love affair where a jealous rival challenged Marius to a duel, they moved to St. Petersburg, Russia.  His breakthrough piece of choreography came in 1862 in La Fill du Pharaon, (see today’s link for an excerpt).  From there his career accelerated, giving the world longer, more complex ballets – including the creation of the grand pas de deux.  He choreographed such enduring ballets as Paquita, Don Quixote, Sleeping Beauty and Swan Lake.

Despite spending many years in Russia, Marius Petipa never learned the language, yet he created some of the most famous ballets in history, teaching his choreography to the dancers largely through pantomime.

 Petipa died on July 14, 1910.

 

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #25:

“Marius Petipa has been called ‘the father of classical ballet’.”  

 

                Link of the Day:

http://www.youtube.com/watch?v=6hiuN55tGbU&safe=active             

 

Quote of the Day:  

“It is only those who never do anything who never make mistakes.”

-          A. Favre

 

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Wednesday Statute

Wednesday Statute

Classroom etiquette is an important part of every young dancer’s education.  This includes many things behaviorally that should be practiced outside of the classroom as well.  But it also includes a spatial awareness of things that make the classroom a safe place to dance.  I will be discussing both types of “etiquette” items in future blogs.

Today we are discussing Statute #17, which states:  “When standing at the barre, always leave enough space (front, back and side) to allow for unencumbered movement.”  In other words, make sure you aren’t going to kick anyone, anywhere, with a grand battement!

Most of the time, dancers are careful about leaving enough space in front, but forget to be aware of what is, or isn’t behind them.  This awareness also helps with corps de ballet work, when having eyes in the back of one’s head provides a definite advantage.

From the Beige Book of Ballet Statutes:

Statute #17:  

“When standing at the barre, always leave enough space (front, back and side) to allow for unencumbered movement.” 

 

                Link of the Day:

http://www.youtube.com/watch?v=DIAY1rTwpKg&safe=active              

 

Quote of the Day:

“Manners are a sensitive awareness of the feelings of others.  If you have that awareness, you have good manners, no matter what fork you use.”

-Emily Post

 

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Unbeatable Tuesday

Unbeatable Tuesday

For fledgling ballet students, learning the difference between a royale and an entrechat quatre can be confusing, because the two steps are similar.  These basic beating steps are important because almost every beating step in the repertoire is based on one or the other (humans have only two feet, after all).

The easiest way to remember the difference is this:  a royale changes feet (if the right foot begins in the front, it lands in the back); and an entrechat quatre doesn’t change feet (if the right foot begins in the front it lands in the front).  That’s it.  More advanced beats may land on two feet or one foot, but the rule stands:  The landing of a royale changes feet, the landing of an entrechat quatre doesn’t. 

From the Big Blue Book of Ballet Secrets:

Secret #15f:  

“The landing of a royale changes feet, the landing of an entrechat quatre doesn’t change feet.”

 

                Link of the Day:

http://www.youtube.com/watch?v=sC9WgwBTMqY&safe=active         

 

Quote of the Day:  

“Patience, persistence and perspiration make an unbeatable combination for success.”

-Napoleon Hill

 

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Mad Monday Scissors

Mad Monday Scissors

When performing a set of dégagés from fifth to à la seconde, there is a tendency for the working leg to circle slightly, instead of traveling in a straight, angular path, especially when closing in the back.  The correct path is important for a number of reasons, but mainly because it is designed to train the leg to take the most direct course, so in the center the dancer’s balance and line is maintained.  It is also important because the posture is often compromised – the seat will often tip (remember no tucking, tipping, or tilting) backwards.

To prevent all of these problems, picture how scissors work as they cut:  a straight, in and out pattern is what achieves a good, sharp cut.  Now imagine a pair of loose scissors and how they can’t cut well at all.  Therefore, the legs should work like a good, tight pair of scissors, slicing the air cleanly with each dégagé. 

From the Big Blue Book of Ballet Secrets:

Secret #4e:  

“Sequential dégagés from fifth to second should operate like scissors."

  

                Link of the Day:

https://www.youtube.com/watch?v=ZRnZjTvMaT4

 Quote of the Day:

“Always do your best.  What you plant now, you will harvest later.”

-Og Mandino

 

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Sunday and Sabotage

Sunday and Sabotage

Competition is a part of every dancer’s life, like it or not.  So how do you handle it?  Most dancers enter an audition with the idea of “getting the best part”, and as soon as they arrive at the studio or onto the stage they immediately begin scoping out The Competition - sizing up their rivals.

This is always self-sabotage.  There will always be dancers that are better, or taller, or shorter, or those who have higher extensions or those who have who have prettier feet.  Pretty soon intimidation and generally bad feelings descend.  Not good.

Instead, focus on yourself and try not to compare yourself to others.  Comparing is seldom productive.  Focus on the creative side of the class and the experience of dancing.  That’s really what it’s all about – remember?  Dancing. 

From the Big Blue Book of Ballet Secrets:

Motivational Secret #22:  

“In any competitive situation remember to focus on the love of dancing.”

 

                Link of the Day:

https://www.youtube.com/watch?v=gtQI_15mGmU#aid=P9PcDzR3WT4

 

Quote of the Day:

 

“Jealousy is love in competition.”

-Toba Beta

 

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