2 3 Ballet Webb: February 2020

Saturday, February 29, 2020

Superstitious Saturday Dark



Superstitious Saturday Dark

One saying I never heard in the dance world is this one: Saying  “Thank you dark” as a response to a technical director or stage manager warning “Going dark”, meaning the lights are about to be turned off.

Apparently this is a theatrical tradition and can also include saying “Thank you ____” to whatever instruction or information is given to the performers from the crew or stage manager.

I couldn’t find much about this practice online, but it seems obvious that it is designed both to warn performers and let the stage manager know the instruction was heard.

From the Big Blue Book of Ballet Secrets
Ballet Secret #196:
The phrase “thank you dark” is said in response to “Going dark”.

Link of the Day:

Quote of the Day:
“Everyone is a moon, and has a dark side which he never shows to anybody.”
― Mark Twain

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Friday, February 28, 2020

Fun Friday Sick Seconds



Fun Friday Sick Seconds

We are all aware of the dreaded “sickled foot”. That is, a foot that stretches too far and instead of being a lovely pointed foot, it resembles the farm implement called the sickle.

One of the areas where the sickled foot is frequently seen is a tendu in a la second, or second. This is what I refer to as a sickled, or sic(k) second. The poor tendu foot is sick instead of stretched and beautifully pointed.

Therefore, beware of sic(k) seconds –all the time – but especially in tendu.

From the Big Blue Book of Ballet Secrets
Ballet Secret #3bb:
“Beware of sic(k) seconds.”

Link of the Day:

Quote of the Day:
“Problems are solved from the inside out not the other way around.”
― Vivian Amis

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Thursday, February 27, 2020

Throwback Thursday and Lillian Powell



Throwback Thursday and Lillian Powell

Born in Victoria, Canada on May 29, 1896, Lillian Ruth Powell received her dance training in America from the Denishawn school. She went on to dance in early experimental silent film musicals.

In 1922, Powell performed in short silent films. Some of these early movies included Shawn’s Bubble Dance as well as in one of his Egyptian dances (with Martha Graham). This was an early attempt to synchronize dance and music on film. By the late 1920s, Powell was performing with Jack Kline and the Californians, a vaudeville group.

When she was in her thirties, Powell taught at a Los Angeles dance studio, but she continued to perform. By the time she was in her forties, she was a physical education teacher.

In 1954 she began acting in television. She appeared in such shows as Dragnet, and made guest appearances in The Thin Man, Ben Casey and Adam-12.

She lived a long life, retiring in 1970 and passing away on May 31, 1992 in Los Angeles, California. She was 96.


From the Big Blue Book of Ballet Secrets
Dance History Secret #314:
“Lillian Powell was a dancer and actress who performed in early silent films.”

Link of the Day:

Quote of the Day:
“Do not read, as children do, to amuse yourself, or like the ambitious, for the purpose of instruction. No, read in order to live.”
― Gustave Flaubert

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Wednesday, February 26, 2020

Wacky Wednesday Rail Lines



Wacky Wednesday Rail Lines

You will remember Ballet Secret #6a:  The arms move in specific “highways”. Today’s idea may work better for some students.

Instead of highways, imagine railroad tracks. Trains cannot leave the track or else there will be a train wreck. It’s the same with balletic port de bras. The arms are only permitted to move along certain tracks, and seldom go anywhere else. No track wreck arms are permitted.

There’s the horizontal track forming a half circle at the height of the lower rib cage rib (well away from the body) that moves from fifth en avant to a la second; the vertical half circle from the hair line (fifth en haut) that moves out and down through fifth en avant to fifth en bas; and the full circle from the hair line (fifth en haut) to second position and on down to en bas. There are also the “rail sidings” that move from fifth en avant to arabesque.

From the Big Blue Book of Ballet Secrets
Ballet Secret #6xxx:
“The arms must adhere to the railroad tracks.”

Link of the Day:

Quote of the Day:
“It ought to be plain how little you gain
by getting excited and vexed.
You'll always be late for the previous train,
and always on time for the next.”
― Piet Hein

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Tuesday, February 25, 2020

Terminology Tuesday Ligne



Terminology Tuesday Ligne

The word ligne [LEEN-yuh} means line. That is, the line dancers are familiar with: the picture or outline a dancer exhibits while dancing.

As we know, a dancer is said to have “good line” when they are able to arrange everything (head, arms, legs, etc.) in a pleasing balletic aesthetic. Of course this is absolutely necessary for all dancers.

In addition to meaning line, the word ligne in French can mean queue, trait, design, conception, figure, or silhouette among others.

From the Big Blue Book of Ballet Secrets
Terminology Secret #82:
Ligne means line.”

Link of the Day:

Quote of the Day:
“If a man cannot understand the beauty of life, it is probably because life never understood the beauty in him.”
― Criss Jami, Killosophy

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Monday, February 24, 2020

Mad Monday Belly Button Key



Mad Monday Belly Button Key

Last week I talked about the Belly Button Wall. Today I’m presenting the Belly Button Key.

Controlling the abdominal muscles can be challenging, and they have a tendency to be forgotten, especially when a dancer is thinking about so many other things. But abdominal control is crucial for good posture and technique so try the Belly Button Key.

It’s simple. Just pretend that your belly button is a keyhole. Now, put the key in and imagine turning it. Voila! Perfect abdominal control.

From the Big Blue Book of Ballet Secrets
Ballet Secret #16ll:
“Imagine a belly button key.”
Link of the Day:

Quote of the Day:
“Opinions are like belly buttons; everybody has one. I never knock a man for his opinion.”

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Sunday, February 23, 2020

Sunday Calm



Link of the Day:

Quote of the Day:
“You cannot wait for an untroubled world to have an untroubled moment. The terrible phone call, the rainstorm, the sinister knock on the door—they will all come. Soon enough arrive the treacherous villain and the unfair trial and the smoke and the flames of the suspicious fires to burn everything away. In the meantime, it is best to grab what wonderful moments you find lying around.”
― Lemony Snicket, Shouldn't You Be in School?

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Saturday, February 22, 2020

Strange Saturday Witch Dance



Strange Saturday Witch Dance

In Mississippi there is an area along the Natchez Trace known as Witch Dance. Why? Well, this is still a mystery, and the area is reputedly one of the state’s most haunted places. For a detailed account of this legend see this site: https://www.legendsofamerica.com/ms-witchdance/

Back in the day, it is said that witches would gather here to perform their rituals, and dance was involved. The story goes that wherever the witch’s feet came in contact with the ground all vegetation would wither and die, never to grow again.

Today these barren spots can still be seen and nothing grows there. If you’d like to visit the site it is on the Natchez Trace Parkway at milepost 233.2. 

From the Big Blue Book of Ballet Secrets
Strange Secret #195:
“There is an area in Mississippi linked to the Witch Dance.”

Link of the Day:

Quote of the Day:
“Solitude is the soil in which genius is planted, creativity grows, and legends bloom; faith in oneself is the rain that cultivates a hero to endure the storm, and bare the genesis of a new world, a new forest.”
― Mike Norton, White Mountain

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Friday, February 21, 2020

Fun Friday Belly Button Brick Wall



Fun Friday Belly Button Brick Wall

As I have said before, the arms move in specific highways (see Ballet Secret #6a: The arms move in specific “highways”). At no time (or seldom) do they go off the road. Today’s image is a case in point.

Imagine a brick wall that extends from your belly button forward. It’s as formidable as the Great Wall of China and at no time (or seldom) are your arms allowed to cross this wall.

Even in steps like balancé where it appears the arms are crossing past the Belly Button Brick Wall, they don’t. It is an illusion created by the turning of the torso.

From the Big Blue Book of Ballet Secrets
Ballet Secret #6www:
“Imagine a belly button brick wall.”

Link of the Day:

Quote of the Day:
“Men build too many walls and not enough bridges.”
― Joseph Fort Newton

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Thursday, February 20, 2020

Throwback Thursday Montgomery and Stone


Throwback Thursday Montgomery and Stone

David Craig Montgomery was born in St. Joseph, Missouri on March 21, 1870. Fred Andrew Stone was born on August 19, 1873.

Montgomery began dancing in his backyard and taught himself to become a dancer and a contortionist. He began performing locally and went on to work in Denver where he met Fred Stone. Fred was an acrobat and tightrope walker.

Together they formed a team that lasted for 22 years. They performed in various touring vaudeville companies, ending up on Broadway in 1901 in The Girl From Up There.  But their big break came when they were cast  in The Wizard of Oz as The Scarecrow (Stone) and Tin Man (Montgomery). The show ran in New York for a year, then toured the country, making both men stars. They performed in this show until 1905.

They went on to perform in The Red Mill (1906) and the Winthrop Moving Picture Company made short films of their routines from this show in 1907. They continued to perform in various shows and a reviewer wrote: “The names of David C. Montgomery and Fred A. Stone have been inseparably linked with fun and frolic ever since years ago they forsook vaudeville to enter the musical comedy field…”

David Montgomery died suddenly in Chicago on April 20, 1917. He was only 47 years old. Fred Stone outlived him by many decades, dying on March 6, 1959.

From the Big Blue Book of Ballet Secrets
Dance History Secret #313:
“David C. Montgomery and David Stone were the original Scarecrow and Tin Man.”

Link of the Day:

Quote of the Day:
“A heart is not judged by how much you love; but by how much you are loved by others”
― L. Frank Baum, The Wonderful Wizard of Oz

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David Craig Montgomery was born in St. Joseph, Missouri on March 21, 1870. Fred Andrew Stone was born on August 19, 1873.

Montgomery began dancing in his backyard and taught himself to become a dancer and a contortionist. He began performing locally and went on to work in Denver where he met Fred Stone. Fred was an acrobat and tightrope walker.

Together they formed a team that lasted for 22 years. They performed in various touring vaudeville companies, ending up on Broadway in 1901 in The Girl From Up There.  But their big break came when they were cast  in The Wizard of Oz as The Scarecrow (Stone) and Tin Man (Montgomery). The show ran in New York for a year, then toured the country, making both men stars. They performed in this show until 1905.

They went on to perform in The Red Mill (1906) and the Winthrop Moving Picture Company made short films of their routines from this show in 1907. They continued to perform in various shows and a reviewer wrote: “The names of David C. Montgomery and Fred A. Stone have been inseparably linked with fun and frolic ever since years ago they forsook vaudeville to enter the musical comedy field…”

David Montgomery died suddenly in Chicago on April 20, 1917. He was only 47 years old. Fred Stone outlived him by many decades, dying on March 6, 1959.

From the Big Blue Book of Ballet Secrets
Dance History Secret #313:
“David C. Montgomery and David Stone were the original Scarecrow and Tin Man.”

Link of the Day:

Quote of the Day:
“A heart is not judged by how much you love; but by how much you are loved by others”
― L. Frank Baum, The Wonderful Wizard of Oz

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