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Sunday, September 3, 2017

Sunday Labor Day Weekend


Sunday Labor Day Weekend

On this weekend that serves as a dividing line between summer and fall, there is both sadness and anticipation. Many dancers are going into their fall season, which means learning a new repertoire and preparing for annual Nutcracker performances.

President Grover Cleveland declared Labor Day a national holiday in 1894, and it was established to honor and celebrate the achievements of workers. It is a yearly tribute to the contributions workers have made to the country. For dancers, Labor Day is a good time to think about what we do as artists, why we do it, and how what we do contributes to making the world a better place.

Artists are in the unique position of making other people’s lives better, simply by doing what we do. In any performance or work of art, if we have done our job well, the audience or observer will go back to his or her regular life feeling as though they have had a significant experience of some kind.That’s a pretty awesome way for any worker to contribute to the world.

Enjoy your weekend!

From the Big Blue Book of Ballet Secrets
Motivational Secret #181:
“Dancers use their skills to enrich other people’ lives.”

Link of the Day:

Quote of the Day:
“A man is not paid for having a head and hands, but for using them.”
– Elbert Hubbardis

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Saturday, September 2, 2017

Saturday Sending Statute


Saturday Sending Statute

This is a great all-purpose, important Ballet Statute: Energy is always being sent out in multiple directions. In other words, when in doubt, send it out!

I’ve talked many times about two-way energy, and this is usually the easiest way to feel oppositional energy. But the truth is, energy is going in more than two directions most of the time.

When a dancer is having difficulty with any step, or series of movements, it is helpful to consider where the energy pattern is lacking. Correcting and/or equalizing the energy flow is often all that is needed.


From the Big Blue Book of Ballet Secrets
Ballet Statute #90:
Energy is always being sent out in multiple directions.”

Link of the Day:

Quote of the Day:
“Climb the mountains and get their good tidings. Nature's peace will flow into you as sunshine flows into trees. The winds will blow their own freshness into you, and the storms their energy, while cares will drop away from you like the leaves of Autumn.”
John Muir, The Mountains of California

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Friday, September 1, 2017

Fun Friday Leg Straws


Fun Friday Leg Straws

On Wednesday I talked about imagining your torso as a carbonated beverage, with the bubbles rising upward. Today let’s think about the legs.

Imagine that each leg has a straw running up through its center. Each straw starts at the center of the foot, and runs up to connect on each side of the pelvis.

Now visualize sucking a thick milkshake up through those straws. It’s not a super thick milkshake, just thick enough to require a little effort to get it all the way up through the straw. If you apply too much force, it might cause you to lock back into your knees – never a good thing.

Here you have another way of imagining the constant directive of “pull up on your legs”.

From the Big Blue Book of Ballet Secrets
Secret #1ggg:
“Visualize a straw running inside the center of each leg. Imagine sucking a thick milkshake through them.”

Link of the Day:

Quote of the Day:
“Getting started is the most difficult thing to do; once you file it out, they rest of the journey is as soft as the straw. Be a good beginner.”
Israelmore Ayivor, Shaping the dream

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Thursday, August 31, 2017

Throwback Thursday and Lydia Sokolova


Throwback Thursday and Lydia Sokolova

I seem to be starting a series on dancers who changed their names. Today it is Lydia Sokolova, an English ballet dancer, whose real name was Hilda Tansley Munnings. She was born in 1896.

Her career began in 1910 in London, at the Savoy Theatre – she would have been fourteen years old. She soon joined Mikhail Mordkin’s company for a tour of the U.S. and then the Koslov company for a tour of Europe. In 1913, at the age of 17, she joined Diaghilev’s Ballet Russes – becoming the company’s first English ballerina. Her most famous role was that of the Chosen Maiden in Massine’s reworking of The Rite of Spring.

After the Ballet Russes, Sokolova returned to England where she taught, coached, choreographed and even performed. Her last appearance onstage was in 1962 in the Covent Garden Royal Ballet performance of Massine's The Good-humoured Ladies.

Lydia Sokolova wrote her autobiography called Dancing for Diaghilev (1960).

From the Big Blue Book of Ballet Secrets
Dance History Factoid #181:
“Lydia Sokolova's most famous role was that of the Chosen Maiden in Léonide Massine's reworking of The Rite of Spring.”

Link of the Day:

Quote of the Day:
"He [Diaghilev] knew there was going to be trouble…"
-         Lydia Sokolova (about the performance of Rite of Spring that caused a riot)

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Wednesday, August 30, 2017

Wacky Wednesday Carbonation


Wacky Wednesday Carbonation

Yes! Here we go again with yet another image for posture and alignment.

Imagine your torso as a bottle – like a vintage Coke bottle – with the cap sitting on your head, and the bottom of the bottle at your pelvis. This bottle has just been taken from the refrigerator and is cool and inviting. Now picture all those bubbles of carbonation rising up through your spine, lengthening and energizing it.

But wait, there’s more! Now imagine beads of condensation on the bottle dripping down from your neck to your shoulders, relaxing them totally.

There you have it – improved posture - all from a vintage bottle of soda.

From the Big Blue Book of Ballet Secrets
Secret #1fff:
“Imagine your torso as a carbonated beverage.”

Link of the Day:

Quote of the Day:
“Start each day with a positive thought and a grateful heart.”
Roy T. Bennett, The Light in the Heart

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Tuesday, August 29, 2017

Technical Tuesday Funny Bone


Technical Tuesday Funny Bone

The “funny bone” isn’t a bone at all. Nor is it funny, as you know if you’ve ever hit your elbow on something.

The funny bone usually refers to the area of the olecranon, at the upper end of the ulna (one of the two bones in the forearm). On the inside of this is a small protuberance,  the medial epicondyle of the humerus (upper arm bone). All this makes it sound like the funny bone is a bone, but it isn’t.

The ulnar nerve runs in a groove (called the cubital tunnel) on the back of the epicondyle, and it lies near the surface. That’s why it hurts so much when you hit your funny bone. So actually, the funny bone is a nerve, not a bone, although it is close to several bones. Confused yet?

If the ulnar nerve gets obstructed or constricted (from sleeping with a bent arm, for example), a condition called cubital tunnel syndrome results. The sensation of pain and tingling is the same as hitting the funny bone, but it lasts longer. Scary.

From the Big Blue Book of Ballet Secrets
Anatomical Secret #26z:
“The funny bone isn’t a bone.”

Link of the Day:

Quote of the Day:
“Whoever came up with the term “Funny Bone” must have been a masochist, because hitting it is not funny at all…”
Gary Hopkins

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Monday, August 28, 2017

Mad Monday Hot Air Balloon


Mad Monday Hot Air Balloon

Here is a new way to think about alignment that will have you soaring.

Picture a colorful hot air balloon. Now imagine that your pelvis is the basket underneath (where people ride). The ropes that connect the basket to the actual balloon are your abdominal muscles, and your ribs and your head make up the balloon itself.

Now imagine the balloon lifting off the ground, with the balloon pulling upward while your feet extend downward with the pull of gravity.

Yes – it’s that two-way energy thing again!

From the Big Blue Book of Ballet Secrets
Secret #1eee:
“Imagine your body as a hot air balloon.”

Link of the Day:

Quote of the Day:
“Her mind was like a balloon with static cling, attracting random ideas as they floated by.”
Jonathan Franzen, Purity

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