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Thursday, June 2, 2016

Throwback Thursday and Avdotia Istomina





Throwback Thursday and Avdotia Istomina

A name that is little known in ballet history is that of Avdotia Istomina. She was the first Russian ballerina of the Romantic Period, and was trained by the famous Charles Didelot. She became his favorite dancer and his muse. He taught her his most progressive techniques, and together they helped reform Russian ballet.

Istomina was born in 1799, and the identities  her parents remains a mystery. She entered the Ballet Academy at age 6, most likely sent there to be cared for, since she was “delivered” to the school by a flutist in the Army. She was probably an orphan.

She became an accomplished, beautiful dancer, and in 1816 was  described  thus:
“She was of medium build, brunette, with beautiful appearance and was very well-shaped. She had black, fiery eyes veiled by long eye-lashes which gave a very special character to her physiognomy. She had great strength in her feet, aplomb on the stage, and together with that, grace, lightness and speed in movements; her pirouettes and her elevation were astounding...”
She was also described as posing on the tip of her toe – this may predate Taglioni who is credited with inventing pointe work.

Istomina stopped dancing in 1836, and worked as an actress. She died of cholera on June 26, 1848 in St. Petersburg. Her tombstone makes no reference to her dance career or significance to ballet history. It reads simply: Avdotya Ilyinchna Ekunina, a retired actress.


    From the Big Blue Book of Ballet Secrets:
Dance History Factoid #110:  
“Avdotia Istomina was the first Russian ballerina of the Romantic Period.”

                Link of the Day:

Quote of the Day:
“One lives in the hope of becoming a memory.”
― Antonio Porchia

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Wednesday, June 1, 2016

Wild Wednesday Stretch



Wild Wednesday Stretch

Stretching with one leg on the barre is something dancers in almost every ballet class. It is important to remember that the correct alignment of the body must be maintained here, even though it is easy to allow the weight to move over the heel of the supporting foot. This is because the other leg is on the barre and the whole position is held in place because of the barre – not necessarily because the dancer is properly aligned.

Except when the stretch involves sliding the working leg down the barre into a split, the dancer’s correct alignment (over the balls of the feet) must be maintained. To check this, have the student try to lift their leg off the barre. If they have to move their body over their supporting leg in order to do this, they will discover where their placement should have been at the beginning.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #16r:  
“When stretching with one leg on the barre, remember to keep the body centered over the supporting leg.”

                Link of the Day:

Quote of the Day:
“The human spirit is like an elastic band. The more you stretch, the greater your capacity.”
― Bidemi Mark-Mordi

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Tuesday, May 31, 2016

Technical Tuesday Spine




Technical Tuesday Spine

The spinal column is made up of 33 individual bone, all stacked neatly on top of one another. This forms the all-important pillar of support for the body, and allows movements like bending and twisting that dancers do all the time. This vertebral column also serves to protect the spinal cord and allows pathways for spinal nerves to follow.

The spine has a natural S-shaped curve made up of five different sections: the neck area (includes 7 cervical vertebrae, C-1-C-7), the middle area (the 12 thoracic vertebrae, T1-T12), the lower area (5 lumbar vertebrae, L1-L5), and the bottom area (the sacrum – a composite bone formed by the fusion of 5 vertebrae). The sacrum articulates with L5 and the coccyx (tailbone).

Think of the S-curve in the spine as a spring, because this slight, natural curve gives the body resiliency – the ability to absorb shock – when jumping, for example. Dancers should always warm up their spine by articulating one vertebrae at a time, instead of imagining it as a single solid beam.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #24j:  
“An adult spine has a natural S-shaped curve.”

                Link of the Day:

Quote of the Day:
“Happiness is when what you think, what you say, and what you do are in harmony.”
― Mahatma Gandhi

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Sunday, May 29, 2016

Sunday Live




Sunday Live

We spend most of our time inside our own heads, since we don’t have many other choices. Consider what you hear there, in your mind: is it positive, or negative? Which is it most of the time? For most dancers and other creative people I would guess it is often negative. I’m not sure why this is, unless it is an artist’s constant pursuit of perfection. We creative sorts tend to fixate on the “what if” terrible scenarios and worry about what might happen more than we allow ourselves to dream. 

If negative thoughts outweigh the positive it is a bad thing. It will drag you down and destroy your motivation. How to stop it? Practice. There’s that word again. Focus on your dreams, and picture good things, not bad things. Practice this anytime a negative thought creeps in, and you’ll get better at it.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #16:  
“ Live more with your dreams than your fears.”

                Link of the Day:

Quote of the Day:
“Believe you can and you’re halfway there.”
 —Theodore Roosevelt

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Saturday, May 28, 2016

Saturday Higher Statute


Saturday Higher Statute

One of the most daunting things about classical ballet training is the realization that what seems like a good, sufficient effort is never enough. One example is the amount of lift required to simply maintain good posture and resist gravity.

Today’s Ballet Statute talks about the amount of energy and lift required for a  step or relevé, especially when wearing pointe shoes. Beginning pointe students are always surprised at the amount of effort required for a simple piqué now that they are wearing different shoes!

The Ballet Statute that helps with this dilemma is this one: “Go higher than you think you need to go.” That’s right, mentally prepare yourself to reach higher and longer than you are used to before that piqué, or relevé. I’ve blogged before about imagining descending from the top and not coming up from the bottom.

This higher- than-you-need-to idea works whether you are wearing pointe shoes or not.

From the Big Blue Book of Ballet Secrets:

Ballet Statute #71:  
“Go higher than you think you need to go.”

Link of the Day:

Quote of the Day:
“Your future is bright. Just stop hanging around people who try to dim your light and you will climb up to a higher height! Don't give up on the fight! Stand up for your right! It's within your might!”
― Israelmore Ayivor

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Friday, May 27, 2016

Fun Friday Forward Arms


Fun Friday Forward Arms

Today I present another little trick to help dance students understand how to “face the corner of their own square”. This can be a tricky concept because the angle of the body is slight, and often students turn their body too far.

Here’s the tip:  Have the student stand facing front. Then tell them to extend both arms forward, parallel to the floor. Next, tell them to lower the right arm, then, without moving the left arm, have them turn their body toward it. Since they won’t be able to turn too much because the left arm prevents it, they are now facing the correct corner of their square.

If the student still has difficulty, the teacher can stand in front of the student, facing them, holding onto the left arm as they turn slightly. This prevents the arm from moving.

Try it!

From the Big Blue Book of Ballet Secrets:

Secret #5g:  
“The Extending the Arms Forward trick helps define corners.”

                Link of the Day:

Quote of the Day:
“Ideas are easy. It's the execution of ideas that really separates the sheep from the goats.”
― Sue Grafton

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