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Monday, February 19, 2018

Mad Monday Mouth



Mad Monday Mouth

We all have habits – good and bad. One habit I see in dance students involves mouth movements. These habits wouldn’t be a problem normally – after all, lots of us bite our lips or grimace when concentrating on some problem. But dancers must be alert to these unconscious habits and work to eliminate them.

I usually see these mouth movements when students are concentrating, and they are almost always unaware of what is happening. It helps if they are told to notice whether they do it when they are studying or reading. It’s probably a habit that has been with them most of their life, and didn’t cause a problem until now. And, as we all know, habits are difficult to break.

Do you bite your lips when concentrating? Being aware of these subtle habits is the first step to changing them.

From the Big Blue Book of Ballet Secrets
Secret #22j:
“Be aware of mouth movements.”

Link of the Day:

Quote of the Day:
“You have two eyes, and two ears, but only one mouth. This is so because you are supposed to look and listen more than you talk.”
Lucca Kaldahl

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Sunday, February 18, 2018

Sunday Bright Spot



Sunday Bright Spot

In today’s world of bad news, fake news, and many other various stressors, remember that there is always a bright spot. Somewhere. Look for it, seek it. It is helpful – very helpful – to focus on looking for the good, instead of ruminating on the bad.

Then, when you’ve found your own bright spot or spots, work on being a bright spot for someone else. This isn’t so different than what I’ve talked about in several other blog posts. Say a kind word, hold a door open for someone laden with packages, or simply offer a genuine smile.

Little things truly do mean a lot. Be a bright spot for someone else today.

From the Big Blue Book of Ballet Secrets
Motivational Secret #125:
”Be someone’s bright spot.”

Link of the Day:

Quote of the Day:
“Your future is only as bright as your mind is open.”
Rich Wilkins

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Saturday, February 17, 2018

Saturday Superstition: Mirror



Saturday Superstition: Mirror

Here we go again with yet another theatrical superstition. This one is about mirrors. Apparently it is bad luck to have a mirror onstage. Very bad luck.

Most people know the old saying that breaking a mirror brings seven years bad luck, but if it happens onstage it brings seven years of bad luck to the theater itself, not just the person who broke the mirror.

Mirrors are fine, of course, backstage. But bringing one onstage runs of the risk of the seven year problem. Unless, of course, it’s onstage in a musical called A Chorus Line. Hmmmm….

From the Big Blue Book of Ballet Secrets
Superstition #112:
“ A mirror onstage is bad luck.”
Link of the Day:

Quote of the Day:
“The human soul can always use a new tradition. Sometimes we require them.”
Pat Conroy, The Lords of Discipline

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Friday, February 16, 2018

Freaky Friday Mirrorless



Freaky Friday Mirrorless

Dancers easily become dependent on the mirror. Admit it. Especially on things like ecarté and assemblé, when looking in the mirror ruins the perfect balletic line.

Try taking class without the mirror. That’s right, the whole class. If the room has drapes that can be drawn across the mirrors, close them. But most studios don’t have this option. So, turn your back on the mirror whenever possible. Yes, it will feel weird. Do it anyway.

There’s no mirror onstage, and sometimes that fact alone can cause issues with balance and confidence. Not things you want right before a performance!

So be brave. Ignore the mirror – at least for one class – and see what you experience.

From the Big Blue Book of Ballet Secrets
Secret #21eee:
“Try taking class without the mirror.”

Link of the Day:

Quote of the Day:
You can, you should, and if you’re brave enough to start, you will.” 
-Stephen King

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Thursday, February 15, 2018

Throwback Thursday and Sonja Henie



Throwback Thursday and Sonja Henie

Born in Norway in 1912, Sonja Henie studied ballet as a child, but soon discovered that ice skating was her true passion. However, she continued to study dance with a former teacher of Anna Pavlova, and combined ballet skills with her skating. She competed in the first Winter Games of the Olympics in 1924 when she was eleven years old. In 1928 she won gold, and again in 1932 and 1936.

After retiring from competition, she moved to the United States and made her Hollywood debut in the movie One in a Million (1936), a musical that displayed her figure-skating talents. Other movies followed: Thin Ice, Happy Landing and Sun Valley Serenade.

In 1960 she retired and focused on her interest in art collecting. But in 1969 she was diagnosed with leukemia, a fact she kept secret until she died on October 12 of that year. She is buried on a hilltop overlooking the Henie-Onstad Museum.

From the Big Blue Book of Ballet Secrets
Dance History Factoid #121:
“Sonya Henie was an Olympic figure skater who later appeared in movies.”

Link of the Day:

Quote of the Day:
“I want to do with skates what Fred Astaire is doing with dancing.”
- Sonja Henie

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Wednesday, February 14, 2018

Wild Wednesday Pearls



Wild Wednesday Pearls

Well, here it is Valentine’s Day! I wonder what surprises await you today. Candy? Flowers? Jewelry? Perhaps a string of pearls. Now that I mention it, a string of pearls is a handy postural image.

Imagine the spine as a string of pearls, secured at the bottom by a knot. Now imagine the knot coming apart, allowing the pearls to slide down the string, slowly – putting increasing space between each pearl. This will help you feel the elongation of the spine so necessary for good posture in ballet.

Have a Happy Valentine’s Day!


From the Big Blue Book of Ballet Secrets
Secret #1qqq:
“Imagine the spine as a string of pearls.”

Link of the Day:

Quote of the Day:
“After all," Anne had said to Marilla once, "I believe the nicest and sweetest days are not those on which anything very splendid or wonderful or exciting happens but just those that bring simple little pleasures, following one another softly, like pearls slipping off a string.”
L.M. Montgomery, Anne of Avonlea

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Tuesday, February 13, 2018

Technical Tuesday Frown



Technical Tuesday Frown

Feeling tired lately? Maybe you are working too hard. Maybe you are frowning and using all of the 43 muscles it takes to do that. Try smiling instead. That only uses 17. Big difference! But…

That being said, some other sources say there isn’t that much of a difference. Hmmm.  According to www.sciencemadesimple.co.uk/curriculum-blogs/biology-blogs/muscles, smiling requires 10 or 12 muscles, frowning 6 - 11. The difference isn’t great, but there it is. So you are still using more energy than you need – and we all know that one of the secrets in ballet is to use the energy you need, no more and no less. And in ballet every little thing, no matter how little, counts.

So relax. Smile more  and frown less. You might have energy left over that can be used for other things like pirouettes and jumps...

From the Big Blue Book of Ballet Secrets
Secret #28tt:
“You use more muscles in your face when you frown.”

Link of the Day:

Quote of the Day:
“I'm not frowning, I'm just smiling upside down.”
- Anonymous

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