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Thursday, January 21, 2016

Throwback Thursday and Marie van Goethem


Throwback Thursday and Marie van Goethem

Born on June 7, 1865, Marie van Goethem was the real life dancer that posed for the famous sculpture Little Dancer Aged Fourteen, by Edgar Degas. It was the only sculpture he ever displayed during his lifetime. In 1881, when the finished statue was unveiled, Marie was a member of the corps de ballet in the Paris Opera. She had joined the dance school there in 1878, at age twelve and had recently been promoted to the corps.

Her early life was one of poverty  and her family moved often, probably because they couldn’t pay the rent. Her father died in 1870, leaving her mother to raise Marie and her two sisters alone. This was the time of the Franco-Prussian War which made living conditions even worse, and the family did whatever was necessary to survive.

Degas modeled the statue by hand from wax, and the process took two years. He appears to have portrayed Marie in a way that captured the reality of her world: a brutal and unforgiving one where she was often exhausted, thin, and hungry. This may be why the statue didn’t sell, and it became his most controversial work.

After that first exhibition, Degas never display the statue again. Instead he kept it with him and jokingly referred to her as his “daughter”.  When he died in 1917, the sculpture was cast in bronze, and several of these bronzes are now in major museums. The original wax sculpture is believed to have been lost or destroyed.

A later work, a pastel entitled Dancer with Long Hair Bowing, shows Marie later in her career, now a soloist in the company. But what happened to her after that remains a mystery. If her life ended, as it began, in poverty, she would have been buried in a pauper’s unmarked grave.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #15p:  
Marie van Goethem was the young model for the famous Degas sculpture, Little Dancer Aged Fourteen.

                Link of the Day:

Quote of the Day:
“A painting requires a little mystery, some vagueness, and some fantasy. When you always make your meaning perfectly plain you end up boring people”
Edgar Degas

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Wednesday, January 20, 2016

Wacky Wednesday Crossing


Wacky Wednesday Crossing

For successful beats, the feet must cross fully, and use an angular,(not circular) pattern of movement. Dancers learn these rules as soon as they learn how to perform beats. But achieving clean, crossed beats is difficult and requires practice – like everything else.

To make it easier, practice beats coming from a plié in second position, and think of crossing the thighs not the feet. This works better. After all, the feet are attached at the bottom of the legs, so if the thighs are crossed, the feet will cross. Easy peasy.

It’s all a matter of how you think about it.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #15kk:  
“For successful beats, think of crossing your thighs.”

                Link of the Day:


Quote of the Day:
“The world as we have created it is a process of our thinking. It cannot be changed without changing our thinking.”
Albert Einstein

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Tuesday, January 19, 2016

Technical Tuesday Port de Corps



Technical Tuesday Port de Corps

I once studied with a teacher who always said “port de corps forward, and cambré back” whenever we did a standard port de bras that stretched forward and back. I've never heard anyone else use the term port de corps, before or since.

In researching it, I found this definition for port-de-corps: “Carriage of the body. Basically, port-de-bras action supplemented with flexion, lateral flexion, or hyperextension movement of the spine. http://www.orthopt.org/downloads/PAglossary.pdf

The word “cambré” means arched, so it makes sense that this teacher said what she did. You would arch going back, but not going forward.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #6gg:  
“Port de corps means carriage of the body.”

                Link of the Day:
https://www.facebook.com/1day1dance/videos/1017417088321056/

Quote of the Day:
“What do we live for, if it is not to make life less difficult for each other?”
George Eliot

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Monday, January 18, 2016

Mad Monday Arm Imitators


Mad Monday Arm Imitators

The arms have a peculiar need to imitate whatever the legs are doing. Sometimes this is a good thing, like when the breath in the body extends through the arms. But most often it is not a good thing.

One prime example is when the leg does grand battement, and the arm does its own grand battement. A similar thing happens In a piqué arabesque, when the arms battement themselves too far upward and out of the correct position. Another example is when the arms try to “help” lift the dancer, usually from the elbows, causing the body to sag and the shoulders to lift.

The arms always have their own prescribed paths and positions. Beware of arm imitators.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #6ff:  
“Beware of the great arm imitators.”

                Link of the Day:

Quote of the Day:
“Intelligence plus character-that is the goal of true education.”
Martin Luther King Jr.

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Sunday, January 17, 2016

Sunday Furry Friends


Sunday Furry Friends

You may have noticed that a photograph (meme)of an animal accompanies most of my blogs. I often use cats, not only because I have two of my own, but because they work so well for illustrative purposes. I also have a dog, and have never decided whether I am a dog or a cat person. I guess I’m both.

Animals are a huge part of my life, and always have been. Our pets give us so much more than we give them, and interacting with them is a wonderful way to de-stress after a hard day. Studies have shown that the simple act of petting an animal lowers blood pressure. Also, watching how they move through the world provides a fascinating glimpse into the meaning of “living in the moment”. But most of all, (as you know if you have a beloved animal), is their unconditional love.

If you have a pet, notice them anew today. Give them your love, care, and attention and you will be richly rewarded.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #100:  
“We can learn a lot from our pets.”

                Link of the Day:

Quote of the Day:
“Until one has loved an animal, a part of one's soul remains unawakened.”
Anatole France

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Saturday, January 16, 2016

Saturday Statute Chest


Saturday Statute Chest

A common problem for many dancers is understanding the directive “pull up”. I have blogged before about how this lift must come from the top of the head, or the ears (or both), and it must be a lift of the skeletal structure.

The natural reaction to the phrase “pull up” is to lift from the chest. This doesn’t work because a lift from the chest just throws the body backwards. It can also cause a compression of the spine and an arch in the back and then the dancer tends to fall backwards. Scary.

Therefore, Ballet Statue #57 is simple and direct: “Never “pull up” from the chest.”

From the Big Blue Book of Ballet Secrets:

Ballet Secret #57:  
“Never “pull up” from the chest.”

                Link of the Day:
https://www.facebook.com/rodrigopirescomrua/videos/1306545276038314/

Quote of the Day:
“If you don’t like the road you’re walking, start paving another one.”
– Dolly Parton

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Friday, January 15, 2016

Fun Friday Squeeze


Fun Friday Squeeze

Dancers are often told “squeeze the seat”, in an attempt to get them to turn out more. There is a little truth in that directive, but it is because when the turn-out is engaged an indentation appears in each side of the seat. But the seat itself isn’t truly “squeezed”, and the pelvis should never be “tucked under”. I have blogged about this before.

Instead, think of rotating the femur (thigh bone) in the hip socket. That, as we all know, is where true turn-out comes from, and this action will put those indentations in the seat, giving the illusion of it being squeezed.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #16r:  
“Don’t squeeze the seat, rotate the femur.”

                Link of the Day:

Quote of the Day:
“The tighter you squeeze, the less you have.”
-          Zen saying

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