Happy Father’s Day

Happy Father’s Day

Today’s quote is about how it is the “scraps of wisdom” given to us by our fathers at random moments that shape and color our lives - the teachable moments when they aren’t consciously trying to teach us. I know this is true.  It is not the big lectures or special birthday presents or even the walk down the aisle that become the most meaningful moments we receive from our dads.

Instead, it is the odd moment, the chance remark, or the flashback memory of a walk in the woods that continues to influence us. The power of these little “scraps” surface throughout our lives, whether our father is still with us on earth or not.

Cherish these bits and pieces, even though they may not seem like anything at the time. They will come back to you, many times throughout your life.

Happy Father’s Day, Daddy - and thank you.

From the Big Blue Book of Ballet Secrets:

Father’s Day Secret #1:  

“Cherish your father’s scraps of wisdom.”

                Link of the Day:

https://www.youtube.com/watch?v=GYbXSNVZCP0

Quote of the Day:

““I believe that what we become depends on what our fathers teach us at odd moments, when they aren't trying to teach us. We are formed by little scraps of wisdom.”
― Umberto Eco, Foucault's Pendulum

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Super Saturday Statute

Super Saturday Statute

Yes, it is time once again for a classic Ballet Statute. Yesterday I blogged about how the leg in a fouetté isn’t allowed to drop when moving from one position (like à la seconde) to another (like arabesque). That’s because of Ballet Statute #36: “There is no dropping in ballet.”

This is related to Ballet Statute #18: “There is no drooping in ballet”; but dropping is an altogether different thing. Dropping is totally and suddenly succumbing to gravity. Dropping is more abrupt and severe as one would expect when gravity wins. Scary.

Dropping most often involves the legs (as in yesterday’s blog), but can, to a lesser degree involve the arms, or even the head (really scary). But the worst thing is dropping a partner (beyond scary). I once heard a teacher say this very important thing: “A ballerina should never hit the floor – her partner can always fall under her.”

Of course, all of these scary scenarios can be avoided by remembering Ballet Statute # 36.

From the Big Blue Book of Ballet Secrets:

Ballet Statute #36:  

“There is no dropping in ballet.”

                Link of the Day:

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

Quote of the Day:

“Talent without discipline is like an octopus on roller skates. There's plenty of movement, but you never know if it's going to be forward, backwards, or sideways.”
― H. Jackson Brown Jr.

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Fun Friday Fouettés and Keys

Fun Friday Fouettés and Keys

It’s Fun Friday again and time to talk about fouettés. Not the turning fouettés, but the standard ones where the body turns away (or sometimes toward) an extended leg.

The problem with these fouettés is maintaining the height of the working leg. Since the first part of the movement is usually a developpé or a grand battement, this is where the height of the leg is established. For example, often the position goes from a developpé a la seconde, and fouettés into an arabesque. Since most dancers have a higher extension to the side than they do to the back, the leg drops into the arabesque. Not good.

To prevent this drop, imagine placing the working foot in a keyhole, and the fouetté turns the key. This keeps the leg at the same height, or close to it.

This keyhole image works, regardless of the direction and position of the fouetté.

From the Big Blue Book of Ballet Secrets:

Secret #11e:  

“During a standard fouetté, imagine putting the working foot in a keyhole, then turning the key.”

                Link of the Day:

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

Quote of the Day:

““They key of persistence opens all door closed by resistance.”
― John Di Lemme

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Throwback Thursday and Sol Hurok

Throwback Thursday and Sol Hurok

In 1906, an almost destitute Sol Hurok came to the United States from Russia. He worked at whatever odd jobs he could find and soon began organizing concerts for labor organizations. In 1911, he convinced violinist Efrem Zimbalist to play a concert, and before long Sol Hurok was staging performances that featured many accomplished artists, most of them from his native Russia. In 1914, he became an American citizen.

Because of Sol Hurok, Americans began to develop an interest in and appreciation for companies such as the Bolshoi Ballet, the Ballet Russe de Monte Carlo, the Sadler’s Wells Ballet; and artists like Pavlova, Isadora Duncan and Arthur Rubinstein to name just a few.

For more than fifty years, over 4,000 performers were reputedly featured and/or discovered by Sol Hurok. He was also known for his own showmanship and lavish treatment of his performers. He wrote his autobiography: Imresario in 1946 and it was made into the movie Tonight We Sing in 1953.

Sol Hurok did on March 5, 1974 in New York City.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #73:  

“Sol Hurok was an impresario who did much to bring virtuoso performances to America.”

                Link of the Day:

https://www.youtube.com/watch?v=hMOi135mshA

Quote of the Day:

“"If I would be in this business for business, I wouldn't be in this business."

-          Sol Hurok

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Wild Wednesday Pointer

Wild Wednesday Pointer

Here we go again with another image for better posture and alignment! Can there ever be too many? No.  I think not. Today’s  image involves a prop – a telescoping pointer. Not something the average person usually has on them, but something most people are familiar with.

Sometimes it is disguised as a normal pen, but when pulled, it extends longer and longer and longer. Usually a foot and a half or more. I have one of these and it is handy for illustrating the length and lift necessary when a dancer “pulls up”.

I usually pull it out only part way and ask the students  if that looks like enough. Most of them will say it “yes”, and then I pull it further. You get the idea. It is useful to actually see something that extends and extends…

So find a telescoping pointer or pen, or at least a photo of one. It is a great image for how the body lengthens in ballet.

From the Big Blue Book of Ballet Secrets:

Secret #1pp:  

“Imagine a telescoping pointer.”

                Link of the Day:

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

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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Technical Tuesday Double Duty

Technical Tuesday Double Duty

I love ballet. It is so logical. Learning one skill is useful because it often applies in other steps later. For example, in an en dedans pirouette, there are two ways to prepare: 1.the working leg moves directly from fourth position to retiré; or 2. the working leg extends to à la seconde before moving to retiré.

I like to teach students the second way because this is the same preparation that is used for à la seconde turns en dedans. I love skills that do double duty.

I also teach the first way, but I find that students achieve that with relative ease. The preparation to à la seconde is a bit more difficult, but once perfected, a la seconde turns are easily mastered – often to the student’s surprise.

From the Big Blue Book of Ballet Secrets:

Secret #14q:  

“An en dedans pirouette preparation that involves an extension to the side is the same as the preparation for an à la seconde turn.”

                Link of the Day:

https://www.youtube.com/watch?v=X-JoKx8MNFg

Quote of the Day:

““The love of learning, the sequestered nooks,
And all the sweet serenity of books”
― Henry Wadsworth Longfellow

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Mad Monday Murphy’s Law

Mad Monday Murphy’s Law

Murphy’s Law states “If anything can go wrong, it will”. No one knows who Murphy was – or if he was a real person. Some attribute this saying to Edward Aloysius Murphy, Jr. who was an American aerospace engineer. The expression is also believed to have been created during WWI or WWII in some branch of the military. But no one really knows for certain. And to think this expression went viral in the days before the internet!

This famous law is often quoted by both pessimists and humorists. The dance world has its own version, and it goes something like this: “The best things you do will never be witnessed by the director or an audience. Your best dance moves will occur in your kitchen. At midnight. When no one is around except the dog.”

Sound familiar? There are many other situations in dance that have similar “laws”. I’ll post one every now and then.

From the Big Blue Book of Ballet Secrets:

Secret #21g:  

“Murphy’s Law states that the best things you do will never be witnessed by the company director or the audience.”

                Link of the Day:

https://www.youtube.com/watch?v=EeH0Xxqagq8

Quote of the Day:

“Murphy was an optimist.”

-Unknown

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