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Thursday, January 7, 2016

Throwback Thursday and Nina Novak


Throwback Thursday and Nina Novak

Nina Novak was born in Warsaw, Poland, and began her dance training at age eight at the Warsaw Opera Ballet School. She studied with many famous dancers including Bronislava Nijinska. In 1948 she came to New York and joined the Ballet Russe de Monte Carlo, rising through the ranks from soloist to Prima Ballerina. She also choreographed, and her first work, Variations Classique, stayed in the repertoire of the Ballet Russe for many years.

In 1964 she created her own company in Caracas, Venezuela called the Venezuelan Classical Ballet Company. Here she trained many young dancers including Alexis Zubiria who competed in the International Ballet Competition in Jackson, Mississippi.

In 1987 the President of the Republic bestowed upon Nina Novak the Order of Andres Bello of the First Order. Novak also served on the 2002 and 2006 juries for the USA International Ballet Competition.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #98:  
Nina Novak was a dancer with the Ballet Russe de Monte Carlo.

                Link of the Day:

Quote of the Day:
“Whoever wants to study ballet must, first of all, have the physical and mental ability and must really love this art. You have to be disciplined. Ballet is not only a profession; it's a vocation.”
-Nina Novak

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Wednesday, January 6, 2016

Wacky Wednesday Bananas


Wacky Wednesday Bananas
I’ve blogged a lot about the sensation of two-way (or more) directions of energy, and how important this sensation is for successful dance technique. Yesterday I discovered a new image, courtesy of RPM https://www.ballet4everybody.com/, to help students “find” the feeling.
Dancers are always admonished “Pull up!” And what usually happens is that they do just that, and everything pulls up including the shoulders and even the eyebrows. Scary. What they should feel "pulling up" is the skeleton. The muscles, etc., should lengthen downward (simultaneously). You will recognize this as the equal and opposite energy pathways that I have talked about many times before.
But to help visualize this, imagine peeling a banana. The banana itself is the skeletal system, and the peel represents the musculature. Feel the sensation of the peel going downward and the banana going upward. 

From the Big Blue Book of Ballet Secrets:
Ballet Secret #16q 
“Imagine peeling a banana to feel two-way energy.”

                Link of the Day:

Quote of the Day:
Once you replace negative thoughts with positive ones, you'll start having positive results.”
-       Willie Nelson 

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Tuesday, January 5, 2016

Technical Tuesday Bourrée


Technical Tuesday Bourrée
One of the most interesting steps in ballet is the bourrée. This series of tiny steps done in sequence, usually on pointe, creates an incredible illusion: it makes the dancer appear to be floating. Add a little mist from dry ice and it heightens the illusion, as in the ballet Giselle.
The secret to beautiful bourrées requires keeping the feet close together (maintaining the fifth position), and moving the feet rapidly. It is also essential that the knees be relaxed (I’ve blogged about this before). The propulsion is usually provided by the push of the back foot in fifth position.
The word “bourrée” means “overstuffed” and that is a pretty accurate way to describe the amount of tiny steps required to achieve a floating illusion.  

From the Big Blue Book of Ballet Secrets:
Ballet Secret #32p:
“Bourrée means overstuffed.”

                Link of the Day:

Quote of the Day:
"I suspended my disbelief, and left it floating in mid air.”
― Jarod Kintz


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Monday, January 4, 2016

Mad Monday Wrong Place


Mad Monday Wrong Place

Rond de jambes are a good and useful step. They are also beautiful, as in grand rond de jambes, etc. But they have a sneaky habit of appearing in places they shouldn’t be.

The most common place to see them is during dégagés in second – instead of perfect angular movements, a rond de jambe creeps in and the foot goes around instead of straight in and out. Scary.

Rond de jambes sneak into many other steps as well, such as grand battements in second, and frappés. The clue to hidden rond de jambes is often excessive movement in the hips (pelvis).

Always beware of sneaky rond de jambes.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #16p:  
“Beware of rond de jambes in the wrong place.”

                Link of the Day:

Quote of the Day:
“There are years that ask questions and years that answer.”
Zora Neale Hurston

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Sunday, January 3, 2016

Super Sunday Word



Super Sunday Word

At the beginning of this brand new year, think about choosing a word – a single word - that will motivate you. I’ve blogged before about this type of concept, like picking a color to focus on to increase awareness.

Pick a word that you’d like to use to increase your awareness, and stimulate your motivation. Some examples might be:  “Kindness”, “Amplify”, “Stretch”, “Breathe”, “Sparkle”, etc. It’s your word, so it can be anything that motivates you.

Use a thesaurus to find words, or a dictionary. Then, when you’ve settled on one you like, use it every day, and throughout the day. Have fun with it!

From the Big Blue Book of Ballet Secrets:

Motivational Secret #98:  
“Choose a word for the new year.”

                Link of the Day:

Quote of the Day:
“I like good strong words that mean something…”
Louisa May Alcott, Little Women

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Saturday, January 2, 2016

Saturday Stunning Statute


Saturday Stunning Statute

Today’s Ballet Statute is short and sweet: “Lengthen to close”. It is a simple, but effective, directive.  And poetry aside, effective directives are important in ballet.

Whenever  a  dancer concludes a movement or closes a position, there must be a corresponding lengthening of something. It is always the body, but also, in cases like a high développé or a grand battement, there is also a lengthening of the working leg prior to its closing in fifth (or wherever). This is all part of the outward energy pattern I have often talked about.

This means that the dancer must always leave a little bit of “space” or “breath” so the lengthening action can occur. If a dancer “pulls up” too much, too soon, there will be no place left to go at the end.

From the Big Blue Book of Ballet Secrets:

Ballet Statute #56:  
“Lengthen to close.”

                Link of the Day:

Quote of the Day:
 “What we think determines what happens to us, so if we want to change our lives, we need to stretch our minds.”
                                                                   -Wayne Dyer       


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Friday, January 1, 2016

Fun Friday Happy New Year!




Happy New Year, everyone!


                Link of the Day:

Quote of the Day:
“We will open the book. Its pages are blank. We are going to put words on them ourselves. The book is called Opportunity and its first chapter is New Year's Day.”
Edith Lovejoy Pierce

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