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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http://balletconnections.com/DebraWebbRogers

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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 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

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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 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

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

                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

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

                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

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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 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

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

                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