Balancing on One Leg

 

 

 

When a dancer balances on one leg, the alignment of the body changes slightly depending on the particular position the dancer assumes.  But for this example, I’m going to use retiré, since it is so frequently used – especially for turns.

When attempting to balance in retiré my students frequently fail to place their body weight completely over their supporting leg.  When I ask them why, they usually say something about not “sitting in their hips”.  (Once again I discover that my best teaching intentions have backfired).  So I try to explain that centering their torso over their leg isn’t “sitting”, as long as their hips are level with the floor and they are still “lifting” or “pulling up” correctly. 

The phrase that has worked best for me is Secret # 1d :

Place (align) the belly button over the supporting foot.

 

Posing for the above photograph is my cat, Chessie.  She was born with radial nerve damage in her left leg, so the lower part of that leg is paralyzed.  She gets around fine, however, on three and a half legs!  She often sits as you see her in this picture, with her compromised foot placed across her supporting foot (although her supporting leg is usually more turned-out).  Notice that her normal leg is effectively balancing and supporting her, by being placed neatly in the center of her body.  I often show this photograph to my students to illustrate the concept of correct placement when balancing on one leg. 

 

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What Does “Pulling Up” Mean?

 

Teachers say it often, and students hear it all the time, but what does this common phrase mean and how is it actually interpreted?  I ask my students on their first day of class:  “What does it mean to “pull up”?  I get as many responses as there are students, or I get blank stares.  Obviously, “pull up” is not a clear directive.  The natural physical response for most students is to pull up from their chest, thus throwing their weight backwards. 

It goes back to correct posture.  “Pulling up” should come from the top of the head, or the ears, or the spine (or all three simultaneously) and that “pull” should go upward in a very slight forward trajectory (angled forward from the ankles – see the post on posture).  More advanced students can focus on feeling their pelvis lift (pull up) away from their legs.  The legs should be providing an opposite pull downward, toward, and beyond, the floor.

Secret #1b from The Big Blue Book of Ballet Secrets is:

“Pull up from the top of your head.”

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Pliés and Toasters

A plié is the most important step (movement) in dance technique.  It cushions every landing, and propels every jump.  It is such a useful tool it could be sold with an infomercial!  Yet performing a plié correctly every time can be problematic. So many things can go wrong.   For new students, the most challenging aspect is to bend the knees without altering the upright posture.  The most useful image I’ve found to solve this problem is illustrated above:  “Plié like you are in a toaster”. 

So, from the imaginary Big Blue Book of Ballet Secrets comes Secret #2:

A plié is the most important step (movement) in dance technique.

Here is its corollary, Secret 2a:

Plié like you are in a toaster.

 

There will be more posts on pliés, posture and other stuff to come!  



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Energy and Posture

One of the most difficult concepts to describe to a dance student is the sensation of radiating energy outward from their body.  It can be visualized as colorful laser beams, spotlights, or electricity flowing through a cord. Sometimes it helps to imagine the rays of the sun expanding forever into space.   Little "electric kitty" above provides a pretty good picture of the idea.

This energy is felt as a "reaching" upward, outward and downward - basically in all directions at the same time, but always within the framework and directions of correct posture.  The "up" energy goes upward at a very slight forward angle - not straight up - and involves a "lengthening" of the spine.  If the arms are in second position, the energy radiates outward by following the curved shape of the arms and continuing well beyond the fingertips.  Like water through a garden hose, the energy follows the pathways created by the arms, legs, posture and movements of the dancer.

Thus a corollary to Secret #1 from the imaginary Big Blue Book of Ballet Secrets is:

Secret 1a:  Feel energy radiating in all directions.

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Good Posture for Ballet

 This photograph illustrates the first secret in my yet-to-be-written Big Blue Book of Ballet Secrets.

Good posture for dance can be described in many ways, and can focus on many different areas of the body (stomach in, head up, etc.).  But after all the detailed instructions have been given, I have found that this single sentence says it best:

The body is straight (aligned) and slightly forward from the ankles. 

 

 

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Welcome!

 

Hello and welcome!   I am a dance teacher and former ballet dancer.  It is largely because of the encouragement of my students that I am starting this blog.  I intend to post things related to ballet, particularly those hints, tips and teaching moments that have worked best for my students.   I will also be writing about other areas of interest to dancers and teachers such as food, recipes and possibly even some science/medical subjects.

I have written books and articles on dance, and I hope this blog will be helpful – and perhaps even inspirational - to dancers and dance teachers. 

 I often tell my students that I am planning to write a book called:  The Big Blue Book of Ballet Secrets that will weigh several tons and contain every conceivable ballet rule or "secret".  Each rule in this future book will be numbered for easy reference.  Therefore, here is

Rule #1

                The most important thing in dance technique is posture.  Without correct posture, everything will be wrong.
 

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I hope you will visit often!  For more informational about me, please check out my web site:  www.debrawebbrogers.com.