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Tuesday, May 8, 2018

Technical Tuesday Arrector Pili



Technical Tuesday Arrector Pili

As strange as it may seem, each finger has only one “muscle”: the arrector pili. To be completely technical, fingers actually don’t contain muscles at all - the muscles that do move the fingers are in the palm of the hand and the forearm. The arrector pili are actually bands of microscopic muscle tissue that connect the hair follicles to the dermis (skin).

When the arrector pili are contracted, the hair stands on end, often resulting in the sensation we call “goose bumps”.

In the area of bizarre facts about fingers: Lui Hua, of China  is the man who has the largest hand in the world. His index finger is almost twelve inches long, and his left thumb is more than ten inches. This is caused by a condition called “macrodactyly” – which means – no surprise here - big fingers.

From the Big Blue Book of Ballet Secrets
Secret #27eee:
“Each finger has only one “muscle”, the arrector pili muscle.”

Link of the Day:

Quote of the Day:
“If, while at the piano, you attempt to form little melodies, that is very well; but if they come into your mind of themselves, when you are not practicing, you may be still more pleased; for the internal organ of music is then roused in you. The fingers must do what the head desires; not the contrary.”
― Robert Schumann

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Monday, May 7, 2018

Marvelous Monday Etiquette



Marvelous Monday Etiquette

Dancers learn, almost immediately, what is expected of them in class. This goes beyond technique into classroom etiquette. It involves where to stand, how to behave, how to move across the floor, and how to properly conclude class.

At the end of a ballet class one of the accepted norms is that the teacher is – in some way – thanked. This takes different forms depending on the school or company. Most often the students applaud.

It can also include a verbal thank you to the teacher, and when I was training, we each shook the teacher’s hand and curtsied. I don’t see this done too frequently any more.

The important thing is to show appreciation. That’s not a bad thing to do in all areas of life, is it?

From the Big Blue Book of Ballet Secrets
Secret #28b:
“Each studio/company has its own way to end class and thank the teacher.”
Link of the Day:


Quote of the Day:
“To get the full value of joy you must have someone to divide it with.”
― Mark Twain

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Sunday, May 6, 2018

Sunday Slow



Sunday Slow

Dance training (ballet in particular), is a slow process. Excruciating slow in fact. Unfortunately, in this time of instant food, instant gratification and instant expectations, many students think they should be moving faster and gaining technique quicker than is humanly possible. This is a recipe for unhappiness.

Take heart! It’s a slow process. Expect it. It’s slow for everyone, believe it or not. No one in ballet gets everything – in fact, ballet is the great equalizer. Embrace the process. Marvel at your small accomplishments. Recognize that most of them will be small!

It also helps to look back and realize how far you’ve come in your quest. You’ll always want more and that’s okay. Remember when you couldn’t do a single pirouette, or your legs felt like jelly after a short jump combination? Remember when you thought you’d never get through a single class and now you’re taking multiple classes?

It’s slow. Love the process and carry on.

From the Big Blue Book of Ballet Secrets
Motivational Secret #132:
“It doesn’t matter how slowly you go as long as you don’t stop.”

Link of the Day:

Quote of the Day:
“To reach a port we must set sail –
Sail, not tie at anchor
Sail, not drift.”
― Franklin D. Roosevelt

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Saturday, May 5, 2018

Saturday Short Chassés



Saturday Short Chassés

There are no short chassés in ballet. Period. Chassés must extend outward as fully as possible for a dancer to gain the greatest benefit from the step.

Short chassés usually occur in insecure or uncertain moments when the dancer pulls back both mentally and physically. Everything shortens, including the chassé.

Muscles work more efficiently and movement occurs more efficiently when everything is elongated. But you don’t have to take my word for it – try it yourself. Do a short chassé into a relevé in arabesque, then try it again with a long, wide chassé. You’ll see immediately which one  works best.

Stamp out short chassés!

From the Big Blue Book of Ballet Secrets
Secret #122:
“There are no short chassés in ballet.”

Link of the Day:

Quote of the Day:
“Every once in a while, people need to be in the presence of things that are really far away.”
― Ian Frazier

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Friday, May 4, 2018

Fun Friday Touch



Fun Friday Touch

Floating passés, orbiting retirés, oh my! You know what I mean. The foot of the working leg never actually touches the supporting knee and instead orbits or floats around it.

This prevents establishing a solid position, especially since an orbiting passé tends to cause (or be caused by) an unstable hip/pelvis position. None of this contributes to a successful position or turn.

Stamp out floating and orbiting retirés! Touch (gently) the supporting knee area with the working foot. Establish and maintain a good position. Your pirouettes will thank you.


From the Big Blue Book of Ballet Secrets
Secret #18o:
“ In retiré, the foot must touch the supporting leg and not hover or orbit.”

Link of the Day:

Quote of the Day:
“It had long since come to my attention that people of accomplishment rarely sat back and let things happen to them. They went out and happened to things.”
― Leonardo da Vinci

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Thursday, May 3, 2018

Throwback Thursday and Ballet Blanc



Throwback Thursday and Ballet Blanc

It recently came to my attention that there are supposed to be seven white ballets (ballet blanc). I hadn’t heard that number before and so I set out to research it. Here are the seven I pieced together from various sources:
Ballet of the Nuns
La Sylphide
Les Sylphide
Giselle
La Bayadere
Swan Lake
Nutcracker
What I have yet to discover is when these seven were designated – and who categorized them. It may simply be a truth that is handed down orally from teacher to student (as so many things are in ballet), and was never written down.

“A dance in which the women wear white tulle ballet dresses or romantic tutus, in the style seen in La Sylphide in 1832 and thereafter immortalized in many romantic lithographs. One of the most famous examples of ballet blanc is Act II of Giselle.

Does anyone out there know who first categorized the seven white ballets?


From the Big Blue Book of Ballet Secrets
Dance History Facoid #132:
“There are reputedly seven ballet blanc (white ballets).”

Link of the Day:

Quote of the Day:
“Dancing is creating a sculpture that is visible only for a moment.”
― Erol Ozan

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Wednesday, May 2, 2018

Wacky Wednesday Paper Thin



Wacky Wednesday Paper Thin

A problem with dégagés to second is when they cease to go in a straight in-and- out pattern and begin to have a slight “aroundness”. They become a hybrid (see previous blogs) of rond de jambe and dégagé. Rond de gé – which doesn’t exist.

I believe this is largely mental. Dancers know they have to take their working leg around the supporting leg when going from fifth front to fifth back, hence the rond de jambe pattern. Instead, think of the supporting leg being as thin as a piece of paper – that way it is easier to make the working leg go in-and-out (in an angular pattern) instead of around.

If the paper image seems too weak, imagine a thin, immovable piece of metal or steel instead. No rond de gés!

From the Big Blue Book of Ballet Secrets
Secret #4w:
“When doing dégagés from fifth to second, imagine your supporting leg is as thin as a piece of paper.”

Link of the Day:

Quote of the Day:
“Reading is to the mind what exercise is to the body.”
― Joseph Addison

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