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Friday, March 14, 2014

Fun Friday: No Tipping, Tucking or Tilting



Fun Friday:  No Tipping, Tucking or Tilting
For most dancers, one of the most difficult things to maintain is a level pelvis.  I’ve talked before about a floating pelvis and other images related to this large bone.  But it all comes down to keeping it level.
With the exception of derrière positions that are above about 30 – 45 degrees, the pelvis must stay in a level position, without tipping backward (seat up), tucking under (hips angled forward), or tilting sideways (one hip higher than the other). 
Despite the classic directive to students to “tuck under”, the pelvis shouldn’t actually “tuck under” and thus lose the level position of the pelvis.  If the dancer is tipping the pelvis backwards, they must return it to a level position, and to get students to do this, teachers often say “tuck under” – hence the confusion.
So remember:  There is no tipping, tucking, or tilting!

 
From the Big Blue Book of Ballet Secrets:

Secret #1v 
“There is no tipping, tucking, or tilting of the pelvis, most of the time.”

 

                Link of the Day:

               
Quote of the Day:

“If you really want to do something, you’ll find a way; if you don’t, you’ll find an excuse.”
-Jim Rohn

 

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Thursday, March 13, 2014

Throwback Thursday and “The Flying Goddess”




Throwback Thursday and “The Flying Goddess”
One of the most important and least known ballerinas of the 1700s was Barbara Campanini, also called “La Barberina”, or “The Flying Goddess”.  She was that rare combination of actress and technician and was particularly known for her petit allegro – hence the name “Flying Goddess”.
It is rumored that she was mistress to Frederick the Great, but this may have been simply because he required her to stay unmarried in order to keep her unusually high salary and five vacation months per year contract intact.  Despite this agreement with the King, she reputedly had many love affairs.  In 1749, she accepted a marriage proposal from Charles-Louis  Cocceji  onstage, thus causing quite a scandal.
Although von Cocceji was jailed by King Frederick, he secretly wed his Flying Goddess.  Later von Cocceji was pardoned and the two lived together until they separated in 1759 and divorced in 1788.
Her colorful life was made into a ballet in 1935 by Maudrik.  It was called “Die Barberina”.


From the Big Blue Book of Ballet Secrets:

Dance History Factoid #20 
“One of the most important ballerinas of the 1700s was Barbara Campanini.”

                Link of the Day:  


 

Quote of the Day:

“Everything you want is on the other side of fear.”
-          George Addair

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Wednesday, March 12, 2014

Wild Wednesday Statute #15


 
Wild Wednesday Statute #15
As I’ve mentioned before, there is always an equal and opposite energy in ballet.  Statute #10 states:  If the knees are bending the spine is lengthening”, and today’s Statute #15 is similar.
Whenever a développé is performed, there is an equal energy exerted on the supporting side of the body.  In a right leg développé, the left side of the body lengthens upward (and with a downward energy too). 
This is important because without that opposing energy the supporting side of the body will tend to sink and travel in the direction of the développé.  It will, in a sense, get pulled into the orbit of the working leg. 

From the Big Blue Book of Ballet Statutes:

Statute #15 
“If the leg is lengthening, the spine and the opposing side of the body are also lengthening.”

 

                Link of the Day:

 Quote of the Day:

“Don’t be pushed by your problems.  Be led by your dreams.”

-Ralph Waldo Emerson

 

 

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Tuesday, March 11, 2014

Terrific Tuesday Drawing the Line


Terrific Tuesday Drawing the Line
When moving from fifth position to passé or retiré, the path the working foot follows is very specific.  Often dancers move the foot away from the supporting leg before bringing it up to the knee.  This is like taking the beltway around the city to get downtown, instead of driving there directly.
The correct path from fifth position to the knee is the simplest, most direct one.  It helps to imagine a straight line drawn on the tights that runs from the ankle up the shin and on to the knee.  The foot must follow this line exactly, without deviation.
This is particularly important for turning movements!

From the Big Blue Book of Ballet Secrets:
Secret #7n:
“Imagine a line drawn on the tights that the foot must follow when traveling from fifth position to passé or retiré.”

                Link of the Day:  


 

Quote of the Day:

“Whenever you see a successful person, you see only the public glories, never the private sacrifices to reach them.”
-Vaibhav Shah

 

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Monday, March 10, 2014

Diamond Studded Monday




Diamond Studded Monday
The most important step in ballet is plié, and executing it properly is critical.  A frequent problem here is often one of turn- out, that is, the knees are not aligned over the toes when the dancer pliés.  This has been discussed in previous blogs.
Another problem is that of malnourished pliés, when the dancer doesn’t use the full bending capacity of their knees.  When the full capacity is used, a lovely diamond shape is created in the legs.  I tell my students to make sure the diamonds they have are big ones – large carat diamonds – because large carat diamonds are always worth more! 

From the Big Blue Book of Ballet Secrets:

Secret #2h 
“In every position except second, a plié makes a perfect diamond shape (a large carat diamond).”

 

                Link of the Day:
                http://www.youtube.com/watch?v=5WOwWjwm-QY
 

Quote of the Day:

“Diamonds are only lumps of coal that stuck at it no matter how much heat or pressure they faced.”
-Jeffrey Fry

 

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Sunday, March 9, 2014

Sunday Musings




Sunday Musings
Today’s "Quote of the Day" at the bottom, makes me think about dancers, and the process they go through on a daily basis.  For each student who “takes ballet”, only about 1-2% will ever make it a career.  And often, the remaining 98% spend the better part of their youth striving to make it into the professional world, but do not reach their goal.
This is not as sad as it sounds.  The process of dance training is every bit as important and beneficial as the end goal.  I often ask my students why they want to be a professional dancer.  There is no big paycheck associated with it, little fame (if any), and by age 40, if not sooner, a performing career is usually over.  So why do it?
The answer, of course, is the sheer love of the art form.  Or, I believe that should be the answer.  Fame and glory are not part of the deal, and a dance student should not expect that kind of reward.  But the process of striving for a goal, the determination to overcome obstacles, the discipline to show up on time and dressed appropriately - these are just a few of the things that dance training provides.  And unlike a performing career, these things last a lifetime. 

From the Big Blue Book of Ballet Secrets:

Motivational Secret #18 
“The process of dance training provides benefits way beyond the goal of a performing career.”

 

                Link of the Day:

 
Quote of the Day:

“In some cases we learn more by looking for the answer to a question than we do from learning the answer itself.”
-Lloyd Alexander
 Author of more than 30 children’s books

 

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Saturday, March 8, 2014

Saturday Hoses




Saturday Hoses
The shape of the arms in ballet is very specific, and seldom are any sharp angles created in the line.  The problem areas tend to be the joints of the elbow and wrist, which, if allowed to bend too much create an angle instead of a curve.
To help achieve the lovely curves necessary; imagine the arms as garden hoses.  If a gardener pulls out a hose to water his roses and the hose kinks (an angle develops), the water won’t flow smoothly – and if the kink is bad enough the water won’t flow at all. 
If a dancer’s arms were hoses and the water had to flow, no angles would be created.  Instead, the water would follow the gentle curve of the elbow and the wrist, finally flowing out all five fingertips.  Or, if the arms are making a “connected” full curve (as in fifth en haut), the water would have a continuous, almost circular flow pattern. 

From the Big Blue Book of Ballet Secrets:

Secret #6n 
“Imagine the arms as hoses, and allow a continuous flow of water through them and out of the fingertips.”

 

                Link of the Day:

 Quote of the Day:
“Maybe you don’t have to push yourself forward.  Maybe you just have to stop holding yourself back.”
-Doe Zantamata

 

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