Wondrous Wednesday Lateral Shift

Wondrous Wednesday Lateral Shift

The word “lateral” means:  of, at, toward, or from the side or sides.”

This lateral movement is particularly important when there is a transfer of body weight from two feet (in fifth position for example), to one foot (to retiré, for example). The body must shift over the supporting foot laterally, without lifting one hip or the other - or tilting the shoulder line. Otherwise the dancer’s balance will be compromised.

Therefore, it is important to recognize how to do this lateral shift without “sitting” in the supporting hip (by lifting away from gravity at all times). I have posted several blogs about this lift-and-resistance to gravity.

From the Big Blue Book of Ballet Secrets:

Secret #22n:  

“For most transitions from two feet to one, the torso does a lateral shift.”

                Link of the Day:

https://www.youtube.com/watch?v=8PQtHStWC1A

Quote of the Day:

“It had long since come to my attention that people of accomplishment rarely sat back and let things happen to them. They went out and happened to things.”

 ― Leonardo da Vinci

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Technical Tuesday Brisé

Technical Tuesday Brisé

A brisé is a traveling jump, basically a traveling assemblé. In fact, having students do a series of glissade assembles across the floor can be a good preliminary exercise before introducing brises. If the pupil can achieve the assemblé, they will more at ease with the beat and lean of the body in brisé.

The term “brisé” or “pas brisé” means “broken step” in French. And brisés can appear that way due to the beating and landing of the jump. The secret to brisé is the lean of the body toward and over the beating legs – which is counterintuitive but absolutely necessary. The upper body is the same as it is in jetés – with the lean of the upper body being slightly forward and slightly side with a slight contraction in the abdominal muscles. The other secret is that the push from fifth must come from both feet. The body doesn’t want to do that, it usually wants to slide the working foot outward too soon.

Brisés can be performed from one foot, however, with the working foot coming from cou de pied. This is not the most common way, but they can be done this way. Brisés can also be reversed, with the dancer traveling diagonally back and the working leg extending backward instead of forward.

Isn’t ballet fun?!

From the Big Blue Book of Ballet Secrets:

Secret #15kk:  

“Brisé, or pas brisé, means “broken step”.”

                Link of the Day:

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

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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Mad Monday Chalk

Mad Monday Chalk

I’ve blogged before about the path from fifth position to passé:  Ballet Secret #3n: Imagine there is a wide line on your tights: the path to passé; and Ballet Secret #7: Imagine a line drawn on the tights that the foot must follow when traveling from fifth position to passé or retiré.”

Okay. Now we have the pathway established, but how do we keep the foot on the “road”? Here’s how: Imagine the big toe as a long, fat piece of chalk and draw a line on the “road” up the tights to the knee. In fact, if one is doing barre in a dusty theatre or studio, often the path up the tights can actually be seen!

All of these ideas should ideas help the problem of “floating passés” – ones that seem to hover near the supporting leg but never touch it.

From the Big Blue Book of Ballet Secrets:

Secret #18k:  

“Imagine the big toe as a piece of chalk and draw a line up the tights from fifth position to passé.

                Link of the Day:

https://www.youtube.com/watch?v=YT95D6leFNI

Quote of the Day:

““A path is a prior interpretation of the best way to traverse a landscape.”
― Rebecca Solnit, Wanderlust: A History of Walking

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Super Sunday Give It Time

Super Sunday Give It Time

Dance training is a slow process – extremely slow. The body changes gradually and patience is something dancers understand early. If not, they become frustrated and unhappy, thinking that they should be “getting better” faster. There is no such thing as an “instant dancer”.

If dancers work conscientiously, every day, toward their goals, it will happen. The body will change and the technique will improve. I could give a guarantee on this or sell it with an 800 number.

I started thinking about how this attitude of patience also works in life. So many things work themselves out in time. Sometimes it is a short period of time, sometimes a long period. Most of the things we worry about never happen, or by the time they do happen they turn out to be not so bad after all.

So think about that today. Whatever the problem or concern, give it time.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #84:  

“Give it time.”

                Link of the Day:

https://www.youtube.com/watch?v=uQxIstHtJw0

Quote of the Day:

“Rivers know this: there is no hurry. We shall get there someday.”
― A.A. Milne, Winnie-the-Pooh

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Sensational Saturday Statute

Sensational Saturday Statute

Today’s statute applies to anything an individual sets out to do, or to study. It is particularly true for dance, however, and it is something I say to students who are habitually off-task.

If you are going to take a class, learn a language, write a book, or even prepare a recipe, it must be undertaken with a certain degree of seriousness. This doesn’t mean it can’t be fun. It means it can’t be frivolous or silly.

In a dance class, if a student is always talking or distracted or otherwise disengaged, the result can be worse than simply failing to learn. Since dance is a physical skill, it requires attention – not only to improve technique but to prevent injuries or accidents. If one is learning a language via computer, there is little chance of that. But anything a human being wants to learn requires effort.

Therefore, today’s Ballet Statute # 46 states: “Take it seriously, or don’t take it.”

From the Big Blue Book of Ballet Secrets:

Ballet Statute #46:  

“Take it seriously, or don’t take it.”

                Link of the Day:

https://www.youtube.com/watch?v=NeiYtTFM3UY

Quote of the Day:

“People pretend not to like grapes when the vines are too high for them to reach.” 
― Marguerite de Navarre

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Fun Friday Peel and Stick

Fun Friday Peel and Stick

One challenging thing about tendus and ultimately dégagés, rond de jambes and grand battements, is maintaining the rotation in the legs, particularly the working leg when it is in derrière. Here the leg wants to rotate under, which causes the knee to face the floor (gasp!).

To prevent this, and to always maintain the correct rotation (turn-out) in each leg, imagine one of those peel-and-stick lights that people put in closets or cabinets that can be turned out by a simple push. During tendus or any other step stick one of these lights on each knee, turn them on, and make sure the light always shines outward – and never at the floor!

From the Big Blue Book of Ballet Secrets:

Secret #4q:  

“ Imagine a peel-and-stick light on each knee that always shines outward.”

                Link of the Day:

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

Quote of the Day:

““Any perceived 'rejection' is simply a 're-direction'.”
― The Truth AD Infinitum

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Thursday Down and Up

Thursday Down and Up

Dancers are often admonished: “Control the leg going down”, or simply “Control!”. When I ask my students how they control a descending leg, I get lots of answers – most of them correct – that involve the working leg. No one ever mentions the critical supporting side of the body.

To control the working leg when it is coming down (in grand battement, for example), the supporting side of the body must provide an equal and opposite energy by lifting upward at the same time the leg is descending. Without this opposite “pull”, the force of the working leg, combined with gravity, will cause the leg to come crashing down. And we all know there is no crashing in ballet.

So whenever the working leg is descending (going down), the supporting side of the body must be ascending (going up).

From the Big Blue Book of Ballet Secrets:

Secret #7zz:  

“When the working leg goes down, the supporting side goes up.”

                Link of the Day:

https://www.youtube.com/watch?v=a5tf-WTykfg

Quote of the Day:

““Climb up the stairs cheerfully, climb down the stairs cheerfully! Let your mind is unaffected by the ups and downs of life!” 
― Mehmet Murat ildan

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Wondrous Wednesday Double L

Wondrous Wednesday Double L

When standing at the barre, working on alignment and everything else, one area of importance is the hip region – the pelvis. I’ve blogged before about how it should feel like wearing a tutu with fine china balanced on top, etc.

Today, remember Double L: The hips (pelvis) must be lifted and level. About the only time the “level” part changes is when the working leg is above about 30-45 degrees in derrière, and with extremely high extensions in other directions -then there is a slight, permissible shift in the line of the pelvis. But most of the time, the pelvis is level and the lift away from gravity is always present (because gravity can’t be turned off).

So think of Double L whenever you are working on posture and alignment.

From the Big Blue Book of Ballet Secrets:

Secret #1tt:  

“The hips must be lifted and level.”

                Link of the Day:

https://www.youtube.com/watch?v=WV0jT1Do6NQ

Quote of the Day:

“Music is the language of all. It tames the savage beast and allows us to get over heartbreak. It helps us express what we really want to say and it has the power to lift hearts and awaken our souls….” 
― James A. Murphy

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Technical Tuesday Battu

Technical Tuesday Battu

The term “battu” means “beaten”. It is used whenever beats are added to an existing jump, such as “jeté battu”, or “assemblé battu”. A royale is sometimes called “changement battu”.

Battus are also seen at the end of the White Swan pas de deux, in the second act of Swan Lake, where the ballerina does a series of rapid battus at the ankle. These battes do not go in front and back but stay in one place, with the beating foot "cupped" under the heel. When performed well, this is a poignant moment in the pas de deux, symbolizing, perhaps, a rapidly beating heart.

So, if the word “battu” is used, the step involves a beat.

From the Big Blue Book of Ballet Secrets:

Secret #15jj:  

““Battu” means “beaten”.

                Link of the Day:

https://www.youtube.com/watch?v=MucYTES91wI

Quote of the Day:

““The inner fire is the most important thing mankind possesses.” 
― Edith Södergran

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Mad Monday Zone

Mad Monday Zone

Second position grand plié is a great moment for stretching and warming up the legs and the turn-out. But there is a problem here that seldom occurs in any other position (although it does, occasionally, occur in first), and that going into the “beyond turn-out” zone.

That’s when the feet go backwards, beyond the 180 degree line of perfect turn-out. It is unattractive, unworkable, unacceptable and unsafe. Not to mention that it is not part of any established training method for ballet, anywhere in the world.

So beware! It’s easy to slide “beyond turn-out”, especially during a grand plié in second position. Keep the feet firmly planted in your best second position, and do not go beyond.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #3p:  

“Beware of the “beyond turn-out” zone.”

                Link of the Day:

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

Quote of the Day:

“Kites rise highest against the wind, not with it.”
― Winston S. Churchill

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Super Sunday Time Frame

Super Sunday Time Frame

Today’s theme involves an old adage that works well to gain perspective and stay motivated. Whenever one is faced with a disappointment, a problem, or is simply having a “bad day”, ask this question: “Will this matter in ten years?”Most of the time, the answer is no.  Sometimes, of course, the answer is yes. But those yeses are in the minority and reserved for the fortunately rare life events that happen to everyone.

 Occasionally, the answer might be “maybe”. If one gets a low SAT score, will it matter in ten years? Maybe. If the test is taken again, and the score improves, it won’t matter. If the test isn’t taken again it is impossible to know if it will matter in ten years. Perhaps the student will choose a different university, or a different path entirely and end up having a wonderful life in an area they never anticipated.

Also try asking:  “Will this matter in five years?”;  or even “Will this matter next year?”  All these questions help us recognize those things that are really important and worth spending mental time and energy on.

So ask yourself these questions before getting too upset about anything. Few things are important enough to warrant “getting your knickers in a knot”.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #83:  

“Will this matter in ten years?”

                Link of the Day:

https://www.youtube.com/watch?v=jfnhnvyJ5n8

Quote of the Day:

“In all affairs it's a healthy thing now and then to hang a question mark on the things you have long taken for granted.”
― Bertrand Russell

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Super Saturday Kicking Statute

Super Saturday Kicking Statute

In a dance class, legs and arms are flying. This is a good thing. Because of this, dancers learn in their very first class how to maintain their “personal space” or “personal bubble”. This is so they are always a safe distance from anyone else in the classroom.

The problem most often occurs when dancers are doing steps like grand battement derrière, or piqués to arabesque. In the heat of the moment they forget about maintaining the space behind them (gasp!), and someone gets kicked (Sob!).

Of course, part of the responsibility also lies with the person behind the kicking dancer – for self preservation, dancers must always be aware of what is going on around them.

So remember Ballet Statute #46: “ Never bump, hit, punch, or kick another person in the room.”

This statute would be a great one for life as well.

From the Big Blue Book of Ballet Secrets:

Ballet Statute #46:  

“ Never bump, hit, punch, or kick another person in the room.”

                Link of the Day:

https://www.youtube.com/watch?v=4-Gd1WUH3HM

Quote of the Day:

“In all our searching, the only thing we've found that makes the emptiness bearable is each other.”
― Carl Sagan

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Fun Friday Super Power Steps

Fun Friday Super Power Steps

Ballet has three Super Power Steps. These steps are critical for creating, tweaking and even saving (when things go wrong!) many other steps. You may imagine wearing a super hero costume and cape when performing any one of these - and I recommend it.

The first one, and the most powerful of the three, is plié. This is involved in each of the other two, so that makes it the King of all the Super Power Steps. Never underestimate the Power of Plié!

The next one is chassé. This steps serves as an impetus (push) for many, many other steps. The pliés inherent in this step must be used to their full advantage, which, when combined with the traveling nature of chassé creates a wonderful, powerful booster rocket.

Finally we have the ubiquitous glissade. Often overlooked as the powerhouse that it is, glissade does many of the same things a chassé does. It is both a push and and a cushion due to the plié that starts and ends each glissade. It also has the traveling ability that chassé does, so it too is a powerful impetus for jumps and turns, etc.

Whenever a dancer is having difficulty with any step, jump or turn, look first to the Super Power Steps and they will fly to the rescue.

From the Big Blue Book of Ballet Secrets:

Secret #15p:  

“45. Ballet has three Super Power Steps: Plié, Chassé, and Glissade.”

                Link of the Day:

https://www.youtube.com/watch?v=5vFb1sl5Wlk

Quote of the Day:

“And being different? That turned out to the best part of all. I found that with a little creativity, and a lot of dedication, any difference can be turned into something amazing. Our differences are our superpowers.” 
― Cece Bell, El Deafo

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Throwback Thursday and Tutus

Throwback Thursday and Tutus

The classical tutu is probably the most iconic image for ballet. But this exaggerated, super short skirt didn’t start out that way. It evolved over many, many years to become what people think of as today’s tutu.

As you know, ballet as we know it began in the French royal court of Louis XIV (I have blogged about this before). At the time, the clothing for women consisted of heavy – very heavy – skirts that concealed the legs, ankle and feet. As dance evolved, it became clear that this sort of dress wasn’t going to work out.

It was Marie Camargo who is credited with “taking the plunge” and shortening her skirt so that her ankles could be seen (gasp!). Camargo was known for her jumps and footwork so it is no surprise that she wanted her skills to be seen. An interesting side effect of this change was the fact that undergarments were now a necessity!

The evolution continued with Marie Taglioni and the emergence of the pointe shoe. The skirt length now fell between the knee and the ankle, and is often referred to as the “Romantic” tutu because it came into popular use during the Romantic period.

The upward-and-shorter trend continued with Diaghilev who not only changed the face of ballet choreographically, he also tinkered with the tutu. He added hoops to support layers and layers of tulle, and the “Classical” tutu we know today was born. The tabletop, or platter tutu is a straight-out affair, whereas the earlier versions “drooped” slightly. This droopier version can be seen in videos of Anna Pavlova performing The Dying Swan.

Today the two basic styles of tutus are the Romantic, or long tutu, and the Classical, or short tutu, and each one can encompass several different versions.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #85:  

“The costume known as the tutu evolved over many years and takes several different forms.”

                Link of the Day:

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

Quote of the Day:

“Simplicity is the keynote of all true elegance.”
― Coco Chanel

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Wild Wednesday Towel Support

 

Wild Wednesday Towel Support

The most readily available prop in a dance classroom is probably a towel. I often use them as a prop for several things. For instance: Ballet Secret #20f: Use a towel to show how the arms must stay centered on the torso in a pirouette; Ballet Secret #20k: Pick up a dropped towel in the center to show how the weight of the body should fall around a central axis; and finally, Ballet Secret #20g:  A towel can be used to support the thigh of the working leg in rond de jambe en’lair.

Today’s secret is very similar to Ballet Secret 20g, and is Ballet Secret# 20m:  Use a towel underneath the working thigh to demonstrate the support necessary for petit battements.”

In a petit battement, the rapid back and forth movement (see yesterday’s blog) of the foot beside the ankle makes it very difficult to keep the working thigh still. (There is realistically a little unavoidable movement in the thigh, but dancers work to minimize this.) Using a towel underneath the working thigh that is held from above by the teacher or a partner helps the dancer feel the support they must create in order to keep the thigh from moving excessively. Then, when the towel is removed, the dancer tries to feel the same sensation of support by using their own muscles.

From the Big Blue Book of Ballet Secrets:

Secret #20m:  

“Use a towel underneath the working thigh to demonstrate the support necessary for petit battements.”

                Link of the Day:

https://www.youtube.com/watch?v=oLG0GzZVsqU

Quote of the Day:

"Everyone wants to live on top of the mountain, but all the happiness and growth occurs while you're climbing it.”
― Andy Rooney

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