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Thursday, May 19, 2016

Throwback Thursday and Eddie Brown


Throwback Thursday and Eddie Brown

Eddie Brown was born on July 27, 1915 in Omaha, Nebraska. His early dance training came from his uncle, and when he was sixteen he entered a tap dance contest where he was spotted by Bill Robinson. Eddie went on to win first place in this contest and Robinson invited him to move to New York with him, but Eddie’s mother refused to allow it. A few weeks later, he hopped a freight train and made his way to New York.

Less than two years later, he joined the Bill Robinson Revue at the Apollo Theatre, where he stayed from 1933 to 1939. Here he honed his craft and learned by watching Robinson and his perfectionism.
Later, he moved to California, where he remained. He worked with groups and as a soloist, experimenting and improvising. He even worked with a drummer, Dave Tough, and they developed a type of call-and-response routine.

Eddie Brown performed throughout the decades, from the 1940s to the 1980s, when he tried – and failed – to retire. He went on to appear in many tap festivals with dancers such as Honi Coles, Gregory Hines and Savion Glover.

Eddie Brown calls his style of tap dancing the “scientific rhythm” because, he says: “You heard all this music/rhythm but couldn't see where it was coming from.”  

Eddie Brown died on December 28, 1992.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #22s:  
“Eddie Brown was a famous tap dancer who employed what he called “scientific rhythm”.

                Link of the Day:

Quote of the Day:
“Show me a person who found love in his life and did not celebrate it with a dance.”
― Shah Asad Rizvi

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Wednesday, May 18, 2016

Wacky Wednesday Whoosh


Wacky Wednesday Whoosh

A chassé is an important linking step in ballet. It provides the push (impetus) for many steps, especially turns and jumps. Therefore, although it is one of the first steps a young dancer learns, it is one of the most essential.

I have done other posts on chassé, but today I’d like to talk about the basic nature of the step. It is a whoosh movement. In other words, it must travel and have acceleration – whoosh!  It also must cover distance – often chassés are shortened when a student is uncertain or holding back. This effectively weakens the potential of the step.

So think of chassés as making a whoosh sound.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #15uu:  
”A chassé is a “whoosh” movement.”

Link of the Day:

Quote of the Day:
“Every flower blooms at a different pace.”
― Suzy Kassem

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Tuesday, May 17, 2016

Technical Tuesday Iliopsoas


Technical Tuesday Iliopsoas

The iliopsoas muscle group (this includes the psosas major, minor and the iliacus) is essential for everyday, mundane activities like walking and running, but it is particularly important for dancers. Weakness in this muscle can cause problems in the back, like too much or too little curve, which in turn can limit the development  of turn-out. Weakness in the  iliopsoas can also cause a decrease in the ability to flex the hip joint – think how this would negatively impact high extensions!

As you can see from the drawing above, this muscle group attaches to the spine, the pelvis and the femur. These muscles are important for the alignment of the pelvis, hence they contribute to core stability – so important for dancers.

In order to “find” the iliopsoas, imagination (visualization) is key. Picture the muscles in your mind as you dance, using the drawing above as a guide. You can imagine them as elastic bands, strings, or whatever helps you find and feel them.

From the Big Blue Book of Ballet Secrets:

Anatomical Secret #24e:  
“ The iliopsosas is one of the most powerful muscles of the hip flexor group.”

                Link of the Day:

Quote of the Day:
“The only time you fail is when you fall down and stay down.”
― Stephen Richards

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Monday, May 16, 2016

Marvelous Monday Sit or Not


Marvelous Monday Sit or Not

Dancers are often told not to “sit” in their pliés or other positions. This, unfortunately, often confuses students. A plié, after all, goes down and then comes up – not unlike getting up and down from a chair. Positions like attitude devant are also easy to “sit” in, since the tendency to tuck the pelvis under is almost a given.

To help clarify the meaning of “sit” in ballet technique, a small to medium size stool can be used.  Begin with pliés and have the student plié and tell them to literally sit on the stool at the bottom of the plié. Then ask them to come up out of the plié and notice how difficult the upward movement is now that the body has been allowed to sit instead of lift.

This can be done for other positions, like the aforementioned attitude devant, but it is most effective in a basic plié.

From the Big Blue Book of Ballet Secrets:

Ballet Secret #20n:  
“Use a small stool to demonstrate “sitting” or “not sitting”.

                Link of the Day:

Quote of the Day:
“Life isn't about finding yourself. Life is about creating yourself.”
― George Bernard Shaw

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Sunday, May 15, 2016

Sunday React


Sunday React

How are you feeling about your life right now? Happy? Sad? Are you happy or sad because of something that just happened to you? Probably. Is this event something big, like getting a job in a major dance company? Or did something really bad happen – like a death in the family? These are two examples of those rare life events that will, understandably, produce large reactions.

But on a day to day basis, how many things are worth getting worked up about? Almost none. You’ve heard the saying: “Don’t sweat the small stuff. It’s all small stuff.” It’s true. When the really big stuff does happen, everything else pales by comparison and it helps give us the perspective we need on other, normal days.

When you feel discouraged or sad, here’s another technique: Ask yourself this popular, but effective, question: “Will this matter in five years? Ten? Tomorrow? The answer will help keep everything in perspective.

Now, go out and enjoy the day.

From the Big Blue Book of Ballet Secrets:

Motivational Secret #114:  
“Life tends to be good or bad depending on how you react to your circumstances.”

                Link of the Day:

Quote of the Day:
“Life is 105 what happens to you and 90% how you react to it.”
- Charles R. Swindoll

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Saturday, May 14, 2016

Super Saturday Size


Super Saturday Size

Dancing, especially onstage, requires a large presence. Not only in facial expressions, or stage presence, but also in amplitude of movement. Merriam-Webster Dictionary defines amplitude as : the quality or state of being ample :  fullness, abundance. 

That brings us to Ballet Statute #69: “When in doubt, make it bigger, not smaller.”  This applies to everything - from the fullness of a port de bras, to a wide balancé, to the distance traveled in a glissade. Pretty much everything.

Steps tend to get smaller when a dancer is uncertain, so be aware of this whenever doubts descend. And, if you aren’t feeling overwhelmingly confident, make your movements big anyway. Ballet technique works much better when the muscles are fully elongated and nothing is tense and pulling back.
From the Big Blue Book of Ballet Secrets:

Ballet Statute #69:  
“When in doubt, make it bigger, not smaller.”

                Link of the Day:

Quote of the Day:
“We either make ourselves miserable, or we make ourselves strong. The amount of work is the same.”
― Carlos Castaneda

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Friday, May 13, 2016

Fun Friday Mending Plate



Fun Friday Mending Plate

A common problem for dancers is maintaining a straight supporting leg, especially during turning movements. There is often a tendency for a slight relaxation of the knee when the posture is off, and this usually resulting in hopping.

To keep the knee straight, there is always the two-way energy (up-down) that I have blogged about before, but today’s Ballet Secret #22y will also help.

When a piece of wood is cracked and needs repair, a carpenter might use a handy little device called a mending plate. This is simply a piece of metal with holes in it that can be screwed to the broken place in the wood, keeping it straight and solid. So imagine a mending plate placed on the back of the knee. It is metal and firm and will not allow any bending in the knee. This imaginary mending plate is adhered to the back of the knee without screws (ouch) – it is simply glued on.


From the Big Blue Book of Ballet Secrets:

Ballet Secret #22y:  
“Imagine a metal mending plate behind the knee.”

                Link of the Day:
https://www.facebook.com/dancechanneltv/videos/1216209345073435/

Quote of the Day:
“Sometimes it takes a good fall to really know where you stand”
― Hayley Williams

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