Wild Wednesday Fondues

Wild Wednesday Fondues

You will remember that there is no dropping in ballet. You will also remember that there is no drooping in ballet. Also, since a fondue is a plié on one leg, all the rules that apply to pliés also apply to fondues.

Unfortunately, things that work well in a standard plié are often forgotten in a fondue. Dancers who would never “sit” in their plié, do just that in a fondue, particularly if it precedes a difficult step. Scary.

Plié secrets are just as important on one leg (maybe more so) as on two, so apply plié rules to fondue. Go back and review all the plié secrets:  Imagine being in a (skinny) elevator and go up and down smoothly. Imagine having a helium balloon tied to your head so you can’t stop at the bottom. Imagine a peanut butter and jelly sandwich in between each vertebrae to keep the body lifted, etc, etc, etc.

There are many others. Try them all during fondues.

From the Big Blue Book of Ballet Secrets:

Secret #17c:  

“All plié rules apply to fondues.”

                Link of the Day:

https://www.youtube.com/watch?v=L1FqQUOoSpI

Quote of the Day:

““For every minute you are angry you lose sixty seconds of happiness.”
― Ralph Waldo Emerson

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http://balletconnections.com/DebraWebbRogers

Technical Tuesday Temps de Cuisse

Technical Tuesday Temps de Cuisse

Temps de cuisse (tahn duh kweess) is a fun step. It is fun to do, and I think it is fun to say. Temps de cuisse, temps de cuisse, temps de cuisse … you get the idea.

According to the website Andros on Ballet (http://michaelminn.net/andros/technique/), a temps de cuisse is: “Thigh movement. A compound step consisting of a battement degagé and a sissone fermée.” This definition is also in Gail Grant’s book, Technical Manual and Dictionary of Classical Ballet. For an interesting discussion on the many variations and ideas about this step, check out today’s link. The word origin of “cuisse” is:  a piece of armor or padding for the thigh.

I usually teach temps de cuisse in petit allegro combinations using a small, ankle-height passé into a sissone that can travel in any direction. This step is very useful in helping student remember and practice the concept that any time the foot leaves the floor it must “peel off”, like a stamp from an envelope.

From the Big Blue Book of Ballet Secrets:

Secret #15y:  

“The word “cuisse: in temps de cuisse comes from a word meaning: “a piece of armor or padding for the thigh”.

                Link of the Day:

http://www.ballet.co.uk/dcforum/training/853.html#1

Quote of the Day:

““Remember that everyone you meet is afraid of something, loves something and has lost something.”
― H. Jackson Brown Jr.

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Want to know more about me? Read my interview at Ballet Connections:

http://balletconnections.com/DebraWebbRogers

Marvelous Monday Seamless

Marvelous Monday Seamless

When beginners learn to read, or play an instrument there are always stops or pauses in between each word or note. This is part of the normal learning process, and it is the same when learning dance steps.

However, as the student advances, the pauses need to be eliminated and a smooth, seamless transition between words, notes or steps must evolve. To do this, a dancer must be secure enough in each individual step to be able to think at least one step ahead. When performing one step, the mind is already thinking about the next one – and beyond. It is the same in music and reading. A student who is thinking only about the step he /she is doing is already one step behind.

I tell my students that the audience should never be able to tell where one step ends and the next one begins. It is like giving away a secret. Instead, the movement should appear effortless, continuous and seamless.

This is achieved in two ways: first, by thinking ahead; and second, the same way you get to Carnegie Hall: practice, practice, practice.

From the Big Blue Book of Ballet Secrets:

Secret #7vv:  

“Movement patterns must appear seamless.”

                Link of the Day:

https://www.youtube.com/watch?v=Hsa-XVRmwXc

Quote of the Day:

““It does not matter how slowly you go as long as you do not stop.”
― Confucius

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Want to know more about me? Read my interview at Ballet Connections:

http://balletconnections.com/DebraWebbRogers

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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Want to know more about me? Read my interview at Ballet Connections:

http://balletconnections.com/DebraWebbRogers

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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 Leave a comment about any instructions, ideas, or images that worked best for you!

Want to know more about me? Read my interview at Ballet Connections:

http://balletconnections.com/DebraWebbRogers

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

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

Want to know more about me? Read my interview at Ballet Connections:

http://balletconnections.com/DebraWebbRogers