Sunday AMA

Sunday AMA

No, this AMA doesn’t stand for the American Medical Association. Instead, this AMA is a little reminder of the three building blocks of inspiration: Ability, Motivation and Attitude. I’ve blogged before about each one of these individually, and they are pretty self-explanatory.

That being said, it is helpful to remember the Big Three. If you are feeling unmotivated, uninspired or generally puny, think about which one of the three (or more) is lacking – mentally.

Ability you have or you wouldn’t be reading a ballet blog. So that one is always there. No problem. Motivation is trickier. I’ve talked before about identifying exactly what motivates you. Think about what makes you passionate and use that. Finally, Attitude. A lack of motivation generally produces a poor attitude, so often if the motivation is boosted, the attitude will follow along.

Remember AMA.

From the Big Blue Book of Ballet Secrets

Motivational Secret #:

“Remember AMA:  Ability, Motivation and Attitude.”

Link of the Day:

https://www.youtube.com/watch?v=-2RszuyACbM

Quote of the Day:

“Don't be pushed around by the fears in your mind. Be led by the dreams in your heart.”
― Roy T. Bennett, The Light in the Heart

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My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

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Saturday Interruption Statute

Saturday Interruption Statute

This statute is filed under the category of Classroom Etiquette: Those things that are seldom taught directly to a dance student, but become assimilated by them during years of taking classes.

When dancers are working on pirouettes, or a series of traveling turns, their spot and mental focus are critical for balance. Therefore, one should never walk in front of a dancer who is turning. Doing so can interrupt their focus, and thus their balance. Worst case scenario: it could cause the pirouetting dancer to lose balance and fall.

Always walk behind a turning dancer.

From the Big Blue Book of Ballet Secrets

Ballet Statute #88:

“Never walk in front of a dancer who is turning.”

Link of the Day:

https://www.youtube.com/watch?v=OUmNVuJB9fs

Quote of the Day:

“Good manners have much to do with the emotions. To make them ring true, one must feel them, not merely exhibit them.”
― Amy Vanderbilt

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

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Fun Friday Near or Far

Fun Friday Near or Far

 Any phrase using the words near and far always reminds me of a quote from Dr. Seuss: “From near to far, from here to there, funny things are everywhere” (from One Fish, Two Fish, Red Fish, Blue Fish).

It is helpful to consider this near and far idea for every performance. How close is the audience? Are you performing in a large theatre that seats a few thousand people? Or is it a studio performance where you are right on top of the audience?

This is important. The stage make-up required for a large theater is much heavier and more pronounced, whereas for a studio audience make-up is applied with a lighter hand – more like heavy street make-up.

But mostly, the way a dancer projects – from movement to facial expressions – is determined by whether the audience is near or far. So often dancer’s expressions are too exaggerated for a small theatre, or not exaggerated enough for a huge venue.

Always consider whether the audience is near or far and adjust your make-up and presentation to match.

From the Big Blue Book of Ballet Secrets

Secret #21k:

“Remember where the audience is: near or far.”

Link of the Day:

https://www.youtube.com/watch?v=1VF415_YnyE

Quote of the Day:

“Time is the longest distance between two places.”
― Tennessee Williams, The Glass Menagerie

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

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Throwback Thursday and Desiree Lubowska

Throwback Thursday and Desiree Lubowska

In the world of mysterious dancers we find Desiree Lubowska. There are many old photographs of her on Pinterest and other sites, showing her in a variety of Egyptian poses. But when one tries to find out more about her, the plot thickens.

Some sites call her a Russian ballerina, but she was not Russian – she was born in the United States in 1893. Her real name was Winifred Foote. It appears that she did what so many dancers did – and still do – take a Russian name in the hopes that it will give them more credibility as a dancer. Of course, with the name “Foote” it seems like she was already born with a memorable name for a dancer!

Madam Désirée Lubovska’s claim to fame seems to be simply that she popularized all things Egyptian, from her costumes to her poses, in the early 20^th century.

From the Big Blue Book of Ballet Secrets

Dance History Factoid #179:

“Desiree Lubowska was known for her role as Cleopatra.”

Link of the Day:

https://www.youtube.com/watch?v=Unz4DydBYE0

Quote of the Day:

“Most people are other people. Their thoughts are someone else's opinions, their lives a mimicry, their passions a quotation.”
― Oscar Wilde

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

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Wacky Wednesday Cactus

Wacky Wednesday Cactus

We all know there is no drooping in ballet (Ballet Statute #18). Yet so often the arms and particularly the elbows continue to droop. This happens often during pirouettes or jumps where the arms are in fifth en avant (first). Not only do the elbows droop, but the whole arm position then squashes inward. Scary.

To prevent drooping and/or squashing arms in fifth en avant, imagine hugging a cactus. A nice, prickly cactus. This will keep your arms and elbows at a safe distance, and there will be no drooping or squashing.

From the Big Blue Book of Ballet Secrets

Secret #16t:

“In fifth en avant (first) imagine hugging a cactus.”

Link of the Day:

https://www.youtube.com/watch?v=ygrktN407jA

Quote of the Day:

“He'd always had a quickening of the heart when he crossed into Arizona and beheld the cactus country. This was as the desert should be, this was the desert of the picture books, with the land unrolled to the farthest distant horizon hills, with saguaro standing sentinel in their strange chessboard pattern, towering supinely above the fans of ocotillo and brushy mesquite.”
― Dorothy B. Hughes, The Expendable Man

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

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Technical Tuesday Temporalis

Technical Tuesday Temporalis

Sometimes called the temporal muscle, the temporalis is flat, and shaped like a fan. It is the muscle that allows chewing (mastication), and it can be felt easily when the mouth opens and closes.

It comes from the temporal fossa, which is a large depression on the side of the skull (see above photo). From there the muscle narrows into a thick tendon which connects to the mandible (see the Link of the Day). The temporalis is the most powerful muscle of the temporomandibularjoint.

When dancers clench their teeth, or hold tension in their jaw, pain in this muscle will result. Yet another reason there is no clenching in ballet (see Ballet Statute #87: There is no clenching in ballet.)

.

From the Big Blue Book of Ballet Secrets

Anatomical Secret #26x:

“The temporalis is the muscle that allows chewing (mastication).”

Link of the Day:

https://www.youtube.com/watch?v=Rde5qudjiQY

Quote of the Day:

“Take it easy when you are busy! It shall never be easy but, take it easy!”
― Ernest Agyemang Yeboah

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

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Mad Monday Butterflies

Mad Monday Butterflies

No, this blog post isn’t about that nervous feeling called “butterflies in the stomach”. Instead it is about grand jetés en tournant (often called tour jetés).

A grand jeté en tournant is a complex step: a big jump that involves a 180 degree turn in the air, as well as taking off and landing on different legs, as well as involving a double spot. Whew! No wonder dancers often have difficulty with this common step.

You will remember Ballet Secret #15:  To prevent “butterflying” the legs in a grand jeté en tournant, imagine jumping in a narrow hallway. Butterflying, or swinging the legs around instead of underneath, is probably the most commonly seen problem.

In addition to Ballet Secret #15, it is important to use a “double spot”. The eyes focus on the first wall (as the working leg battements forward), then the spot immediately changes to the opposite wall (where the dancer will land), as the legs scissor underneath the torso. Spot spot!

From the Big Blue Book of Ballet Secrets

Secret #15zzz:

“A grand jeté en tournant has a double spot.”

Link of the Day:

https://www.youtube.com/watch?v=ywkuaIPsVBA

Quote of the Day:

“New knowledge is the most valuable commodity on earth. The more truth we have to work with, the richer we become.”
― Kurt Vonnegut Jr., Breakfast of Champions

                Help expand the knowledge base!

 Leave a comment about any instructions, ideas, or images that worked best for you!

My latest books are coloring books! They are available on Amazon.

https://www.amazon.com/Family-Tree-Coloring-Debra-Rogers/dp/0980191947/

https://www.amazon.com/Frames-Borders-Backgrounds-Color-Rogers/dp/0980191955/

Want to know more about me? Read my interview at Ballet Connections:

http://www.balletconnections.com/?s=debrawebbrogers

Or "Like" me on my Facebook Author Page:

https://www.facebook.com/Violet-Rightmire-256648280108/timeline/

Or visit my Pinterest page:

https://www.pinterest.com/debtutu/