Stretching at the barre is necessary even when you are first learning ballet. Opportunities to stretch come in between exercises while your ballet teacher describes the next exercise. Often a teacher will give a stretching exercise at the end of the ballet barre workout, in order to take advantage of the warmed up muscles, and also to give the ballet students a brief rest from the most strenuous moves.
One set of muscles that need stretching and relaxing between each exercise is the rotator, or turnout muscles. After plies for example, turn your legs in and plie. Then lean into each hip, gently stretching all the muscles in the hip area. Do this after every barre exercise.
Stretching and relaxing muscles does not diminish your muscle tone, but does the opposite. Muscles that retain tension are weaker than muscles that are relaxed properly with correct stretching.
After battement tendu, relaxing the calves with a demi plie is advised. Relax the foot muscles briefly by pressing each foot up to demi pointe (while standing on the other) to stretch the sole of the foot muscles out.
Some ballet teachers give a stretch exercise at the barre before grand battement. This may be something like placing one leg on the barre, to your devant or front position, and stretching over it. A stretch should be held still for 15-30 seconds at least. No bouncing or pulsing is needed - and movement does not help with the stretch. Turning out the supporting leg and pivoting the body turns you into a la seconde, leg to the side.
There are two common ways you can stretch in a la seconde. One, simply hold a well aligned position (spinal posture correct, working hip level with the supporting hip if possible), and stretch sideways over the leg, holding it 15-30 seconds, or musical equivalent. For more flexible students, slide down the bar, staying close to it, and maintain the widened second position, holding turnout well, 15-30 seconds.
And this is how you can do your stretching at the ballet barre to improve your basic positions.
Showing posts with label ballet teacher. Show all posts
Showing posts with label ballet teacher. Show all posts
How to Choose a Ballet Teacher and Dance Studio For Training in Ballet Shoes and Pointe Shoes
This article gives you 7 highly effective tips about how to choose a ballet teacher. E.g., what a good dance studio looks like; the need for professional training; how to learn real classical ballet;will you need pointe shoes, and more. Many aspiring ballet dancers go through these thoughts in seeking a quality ballet class. Here are some important tips.
Things to consider: What Do You Want For Your Child? (or yourself)?
What does your child want from ballet? Would tap dancing, karate, hip-hop or jazz be a satisfying alternative, or does it have to be ballet? Ballet is a traditional, technical form requiring commitment and discipline. Sometimes it isn't fun! Ballet shoes and pointe shoes can be challenging. But many fall in love with this demanding and traditional dance form.
What will you look for if there are several studios you can check out? The following tips about the basic requirements to good, safe, ballet teaching, will be helpful to parents searching for a good dance studio.
A ballet regimen can be used for a weight loss plan, a childcare outlet, health maintenance, or relief for a troubled teenager. It takes a special love, and can fulfill many requirements of the soul. Many ballet teachers, in glamorous and famous settings, or small and out of the way regions, work just to provide an outlet for this broad spectrum of our needs. Some are experts at teaching pre-pointe, many are not.
*** Locations and appearances: professional dance studios tend to be in older buildings, which have large rooms with undivided spaces, and sprung wooden floors instead of floors set over concrete. A teacher trained in a professional school would choose such a place over a newer facility in a fashionable district with smaller rooms and a concrete floor. If the neighborhood is safe, don't judge a a studio by its lack of "chic". A teacher who chooses an older, low-rent district studio may be providing pupils with safer flooring, better musical accompaniment, and the luxury of smaller classes. If premises have been built especially for dance studios, the best amenities are likely in place.
*** Music: today's economy will not allow all teachers to have live piano accompaniment. While definitely preferable, it will be reflected in the fees you pay. Recorded music for classes does not necessarily mean lower teaching standards.
*** Size of classes: for the beginning levels (i.e., younger children) there should not be classes over approximately 15 students without a teacher's assistant, or the students will not get much individual attention.
*** Hard Floors: floors set directly over concrete have no give, thus creating the potential for injury from falls or repeated landings from jumps. This creates stress and wear and tear on on delicate developing joints and soft tissues. Sprung floors are the best, which is wood on wood supports. There are also floors now made for ballet studios which many studios install.
*** Body style favoritism in teachers: this can be devastating to your child's self-esteem. Any body type can learn, and benefit from ballet classes. This also applies if you are an adult looking for classes, beginner or otherwise. Ballet endows any physique with grace, strength, and fluidity of motion. Unfortunately the professional world of ballet is affected by fads of body shape just like high fashion. Children studying any kind of athletics should be encouraged to appreciate themselves, and the wonderment of their human body and their abilities, just as they are, and just as they are not.
*** Professional ballet training requires very specific physical attributes. Some teachers will praise a student's classwork relative to the assets they were born with. This leaves all others left behind. A good teacher will teach towards every student's actual efforts, concentration, and physical progress, be it made because of, or in spite of, their physiques.
*** Corrections and teachers' attitudes: a teacher's positive attitude is essential. Difficult routines can still be enjoyed, as they produce accomplishment. Every student should be corrected in every class, and every student should be noted when improvements are seen. A demanding but compassionate person produces the best results.
The technical details of good teaching is - well - technical! More guidelines are available at The Ballet Store.
Things to consider: What Do You Want For Your Child? (or yourself)?
What does your child want from ballet? Would tap dancing, karate, hip-hop or jazz be a satisfying alternative, or does it have to be ballet? Ballet is a traditional, technical form requiring commitment and discipline. Sometimes it isn't fun! Ballet shoes and pointe shoes can be challenging. But many fall in love with this demanding and traditional dance form.
What will you look for if there are several studios you can check out? The following tips about the basic requirements to good, safe, ballet teaching, will be helpful to parents searching for a good dance studio.
A ballet regimen can be used for a weight loss plan, a childcare outlet, health maintenance, or relief for a troubled teenager. It takes a special love, and can fulfill many requirements of the soul. Many ballet teachers, in glamorous and famous settings, or small and out of the way regions, work just to provide an outlet for this broad spectrum of our needs. Some are experts at teaching pre-pointe, many are not.
*** Locations and appearances: professional dance studios tend to be in older buildings, which have large rooms with undivided spaces, and sprung wooden floors instead of floors set over concrete. A teacher trained in a professional school would choose such a place over a newer facility in a fashionable district with smaller rooms and a concrete floor. If the neighborhood is safe, don't judge a a studio by its lack of "chic". A teacher who chooses an older, low-rent district studio may be providing pupils with safer flooring, better musical accompaniment, and the luxury of smaller classes. If premises have been built especially for dance studios, the best amenities are likely in place.
*** Music: today's economy will not allow all teachers to have live piano accompaniment. While definitely preferable, it will be reflected in the fees you pay. Recorded music for classes does not necessarily mean lower teaching standards.
*** Size of classes: for the beginning levels (i.e., younger children) there should not be classes over approximately 15 students without a teacher's assistant, or the students will not get much individual attention.
*** Hard Floors: floors set directly over concrete have no give, thus creating the potential for injury from falls or repeated landings from jumps. This creates stress and wear and tear on on delicate developing joints and soft tissues. Sprung floors are the best, which is wood on wood supports. There are also floors now made for ballet studios which many studios install.
*** Body style favoritism in teachers: this can be devastating to your child's self-esteem. Any body type can learn, and benefit from ballet classes. This also applies if you are an adult looking for classes, beginner or otherwise. Ballet endows any physique with grace, strength, and fluidity of motion. Unfortunately the professional world of ballet is affected by fads of body shape just like high fashion. Children studying any kind of athletics should be encouraged to appreciate themselves, and the wonderment of their human body and their abilities, just as they are, and just as they are not.
*** Professional ballet training requires very specific physical attributes. Some teachers will praise a student's classwork relative to the assets they were born with. This leaves all others left behind. A good teacher will teach towards every student's actual efforts, concentration, and physical progress, be it made because of, or in spite of, their physiques.
*** Corrections and teachers' attitudes: a teacher's positive attitude is essential. Difficult routines can still be enjoyed, as they produce accomplishment. Every student should be corrected in every class, and every student should be noted when improvements are seen. A demanding but compassionate person produces the best results.
The technical details of good teaching is - well - technical! More guidelines are available at The Ballet Store.
Ballet Positions, Ballet Techniques and Ballet Movements
There are many many books and ebooks published on ballet positions, ballet movements and ballet techniques. If you are a new ballet student, how do know what you are looking at? Which ones might you choose to learn from? There are different ballet techniques. Which one is right for you? Will you get dance injuries if you practice ballet positions that are wrong?
There is an enormous amount of information in print, on DVD and via ebooks, about ballet positions, ballet movements and ballet techniques. Much of it is beautifully presented.
Ballet photography goes way back to the late 19th century and has preserved precious images of early ballerinas and premier danseurs. Going even earlier in ballet history, there are excellent drawings of ballet stars, ballet classes, and ballet masters.
It's fantastic that now we can view productions from ballet companies all around the world on DVD. For ballet fans who are not in a major city that is visited regularly by ballet companies, this is especially handy.
There is so much to look at, and how can we pick and choose what to learn from? Of course ballet is taught by a live ballet teacher, not from an ebook or DVD. But between classes there is opportunity to understand class lessons better, or study to figure out why certain ballet positions or movements may be difficult.
The Cecchetti method of ballet, the Royal Academy of Dancing and the Vaganova method are the three best known methods of teaching ballet. Most major full time professional ballet schools combine these styles, not necessarily by using all three grading systems, but by employing staff and guest teachers who have a well rounded training themselves. The Auguste Bournonville choreographic tradition shows up a lot in the Cecchetti grades, as just one example of how classical choreography has become embedded in training.
If you are interested in starting ballet, find out what schools in your area teach a syllabus (grading) system, or if they do not, what is the background of the teachers. Retired professionals do not always teach from one of these three systems, yet can be excellent at teaching from their own training.
If you are training to dance simply for your own enjoyment, you may or may not like the pressure of ballet exams - yet, it is part of the discipline in most schools. Whatever your preference, check around and find the right school for you.
If you are taking ballet for weight loss and you are on the right diet, you won't be disappointed. Ballet classes burn a fair amount of calories, and also help build muscle. Since muscles burn calories all by themselves, even when you are sleeping, gaining muscle mass is very healthy. Ballet is also good exercise for healthy bones as well.
Dance injuries are usually the result of sloppy technique or too much muscle tension. Work as accurately as you can, and if you are having trouble with a ballet position or movement, do not be shy. Ask for help. For one thing, repeatedly practicing a ballet movement incorrectly will lead to increased muscle tension.
If you are a curious student and want to know the ins and outs of the mechanics of ballet movements, and what would be anatomically correct, get one of the ballet books written on functional anatomy. It will help you sort out how to improve ballet positions and movements. Not everything in ballet is anatomically correct, and details about that is good for you to know.
Whatever ballet technique you choose to study, always enjoy the movements that you do more easily, get help with those that you struggle with, and take good care of yourself. Go to The Ballet Store for a huge library of dance books and special training manuals on ballet and functional anatomy.
There is an enormous amount of information in print, on DVD and via ebooks, about ballet positions, ballet movements and ballet techniques. Much of it is beautifully presented.
Ballet photography goes way back to the late 19th century and has preserved precious images of early ballerinas and premier danseurs. Going even earlier in ballet history, there are excellent drawings of ballet stars, ballet classes, and ballet masters.
It's fantastic that now we can view productions from ballet companies all around the world on DVD. For ballet fans who are not in a major city that is visited regularly by ballet companies, this is especially handy.
There is so much to look at, and how can we pick and choose what to learn from? Of course ballet is taught by a live ballet teacher, not from an ebook or DVD. But between classes there is opportunity to understand class lessons better, or study to figure out why certain ballet positions or movements may be difficult.
The Cecchetti method of ballet, the Royal Academy of Dancing and the Vaganova method are the three best known methods of teaching ballet. Most major full time professional ballet schools combine these styles, not necessarily by using all three grading systems, but by employing staff and guest teachers who have a well rounded training themselves. The Auguste Bournonville choreographic tradition shows up a lot in the Cecchetti grades, as just one example of how classical choreography has become embedded in training.
If you are interested in starting ballet, find out what schools in your area teach a syllabus (grading) system, or if they do not, what is the background of the teachers. Retired professionals do not always teach from one of these three systems, yet can be excellent at teaching from their own training.
If you are training to dance simply for your own enjoyment, you may or may not like the pressure of ballet exams - yet, it is part of the discipline in most schools. Whatever your preference, check around and find the right school for you.
If you are taking ballet for weight loss and you are on the right diet, you won't be disappointed. Ballet classes burn a fair amount of calories, and also help build muscle. Since muscles burn calories all by themselves, even when you are sleeping, gaining muscle mass is very healthy. Ballet is also good exercise for healthy bones as well.
Dance injuries are usually the result of sloppy technique or too much muscle tension. Work as accurately as you can, and if you are having trouble with a ballet position or movement, do not be shy. Ask for help. For one thing, repeatedly practicing a ballet movement incorrectly will lead to increased muscle tension.
If you are a curious student and want to know the ins and outs of the mechanics of ballet movements, and what would be anatomically correct, get one of the ballet books written on functional anatomy. It will help you sort out how to improve ballet positions and movements. Not everything in ballet is anatomically correct, and details about that is good for you to know.
Whatever ballet technique you choose to study, always enjoy the movements that you do more easily, get help with those that you struggle with, and take good care of yourself. Go to The Ballet Store for a huge library of dance books and special training manuals on ballet and functional anatomy.
How To Find Emotional Intelligence and Positive Thinking In the Ballet World
Author Deborah Vogel has written many books for the student ballet dancer. Most of them have to do with anatomy, and solving the conflicts between ballet's anatomical farfetchedness and the capabilities of the human body.
"Train Your Brain: A Teen's Guide To Well Being" goes beyond tissue and bone into the wondrous creative realm every student experiences, and sometimes loses direction in. Deborah sets forth with help for you, the would-be ballerina or male ballet dancer, to gain more understanding and control over the demanding world you live in.
Any student of music, writing, and performing of any kind, needs to know some survival techniques to maintain emotional intelligence, and stick with positive thinking. Every new class, with new exams, and fierce competitions, can instigate implosions of self-doubts. How do you take command of your mental and emotional space before that important event? Or so you can sleep well every night?
Deborah designed this book so that teens and pre-teens could discover that there is a way to begin a dialogue about self-sabotaging beliefs and thoughts that so influence their patterns of behavior and success. This 48 page book introduces eight teens with common problems and challenges such as how to take charge of your feelings and how to perform like a pro in the dance studio or anywhere and everywhere. You will learn techniques such as Mental Rehearsing, Creating a Feeling, Refocusing and a very powerful Acting as If. These fun (but seriously amazing) activities will help to train your brain — whether a teen or an adult late starter in ballet — towards success.
As a ballet teacher, I've always recommended to students to look outside the dance classes for ways to help manage their frustrations, fears and struggles with the competitive and perfectionist aspects of the performing arts. I think that private and independent study is best for people - contemplation with direction, and applying uplifting creative techniques to maintain a positive perspective, in one's own way.
That in itself is the challenge - finding one's own way. "Train Your Brain: A Teen's Guide To Well Being" is a wonderful first step on that path.
"Train Your Brain: A Teen's Guide To Well Being" goes beyond tissue and bone into the wondrous creative realm every student experiences, and sometimes loses direction in. Deborah sets forth with help for you, the would-be ballerina or male ballet dancer, to gain more understanding and control over the demanding world you live in.
Any student of music, writing, and performing of any kind, needs to know some survival techniques to maintain emotional intelligence, and stick with positive thinking. Every new class, with new exams, and fierce competitions, can instigate implosions of self-doubts. How do you take command of your mental and emotional space before that important event? Or so you can sleep well every night?
Deborah designed this book so that teens and pre-teens could discover that there is a way to begin a dialogue about self-sabotaging beliefs and thoughts that so influence their patterns of behavior and success. This 48 page book introduces eight teens with common problems and challenges such as how to take charge of your feelings and how to perform like a pro in the dance studio or anywhere and everywhere. You will learn techniques such as Mental Rehearsing, Creating a Feeling, Refocusing and a very powerful Acting as If. These fun (but seriously amazing) activities will help to train your brain — whether a teen or an adult late starter in ballet — towards success.
As a ballet teacher, I've always recommended to students to look outside the dance classes for ways to help manage their frustrations, fears and struggles with the competitive and perfectionist aspects of the performing arts. I think that private and independent study is best for people - contemplation with direction, and applying uplifting creative techniques to maintain a positive perspective, in one's own way.
That in itself is the challenge - finding one's own way. "Train Your Brain: A Teen's Guide To Well Being" is a wonderful first step on that path.
Free Ballet Classes for Boys - Ballet San Jose SCHOOL
If you aspire to be one of the men in ballet, here's some news:
from the San Jose Ballet July newsletter:
"Free Ballet Classes for Boys 7 and Up
Ballet San Jose SCHOOL is trying something new this summer...FREE CLASSES FOR BOYS.
A free series of four ballet classes for boys, age 7 years old and up will be offered July 12 through August 2. No previous dance experience is necessary. For boys who have always wanted to give dancing a try...this is the opportunity. All classes will be held in the Ballet San Jose studios located at 40 North First Street in downtown San Jose.
Ballet San Jose School Ballet Master, Peter Brandenhoff, will teach the boys Class. Mr. Brandenhoff studied at Royal Danish Ballet before embarking on an illustrious international dancing career. You can read more about Mr. Brandenhoff here. Boys Class will take place on Saturdays, from 10:00 a.m. to 11:30 a.m., July 12 – August 2. Because this class is free, Ballet San Jose School asks that students make the commitment to attend all four classes – this is not an open “drop in” class.
The required dress code is a plain white t-shirt (not too long, or baggy – must fit well), black shorts, white socks, and black or white ballet shoes. The school has black ballet shoes in some sizes available for purchase. Shoes can also be purchased at Bay Area dance supply stores including Victoria’s Dance and Theatrical Supply in San Jose, or Dance Attire in Mountain View.
For additional information, or to register for Boys Class, contact Kristin Bertrand, School Administrative Director, Ballet San Jose School at (408) 288-2820 x 218". E-mail:kbertrand@balletsanjose.org".
from the San Jose Ballet July newsletter:
"Free Ballet Classes for Boys 7 and Up
Ballet San Jose SCHOOL is trying something new this summer...FREE CLASSES FOR BOYS.
A free series of four ballet classes for boys, age 7 years old and up will be offered July 12 through August 2. No previous dance experience is necessary. For boys who have always wanted to give dancing a try...this is the opportunity. All classes will be held in the Ballet San Jose studios located at 40 North First Street in downtown San Jose.
Ballet San Jose School Ballet Master, Peter Brandenhoff, will teach the boys Class. Mr. Brandenhoff studied at Royal Danish Ballet before embarking on an illustrious international dancing career. You can read more about Mr. Brandenhoff here. Boys Class will take place on Saturdays, from 10:00 a.m. to 11:30 a.m., July 12 – August 2. Because this class is free, Ballet San Jose School asks that students make the commitment to attend all four classes – this is not an open “drop in” class.
The required dress code is a plain white t-shirt (not too long, or baggy – must fit well), black shorts, white socks, and black or white ballet shoes. The school has black ballet shoes in some sizes available for purchase. Shoes can also be purchased at Bay Area dance supply stores including Victoria’s Dance and Theatrical Supply in San Jose, or Dance Attire in Mountain View.
For additional information, or to register for Boys Class, contact Kristin Bertrand, School Administrative Director, Ballet San Jose School at (408) 288-2820 x 218". E-mail:kbertrand@balletsanjose.org".
Preparing Chaine Turns For Ballet Dancing in Pointe Shoes
Chaine turns are best perfected in soft shoes first. Every would-be ballerina wants to excel at turns on pointe. But pointe work depends on the accuracy of your ballet teacher, your basic classical ballet training, and the accuracy of your own class work. And the ballet positions for chainee turns are very simple.
Beginning at the barre, your postural plumb line, turnout and general placement must be correct and strong. It doesn't matter what kind of body you have. Posture can be correct, turnout can be held regardless of your flexibility, and placement can also be correct. I'm just saying that to encourage you. I know it is discouraging if others can do ballet more easily than you. If you are not flexible enough to get the legs extended above 90 degrees without losing placement, you do your best, and work on gaining strength so that you are not straining.
You see once you get on pointe, any tiny incorrect position is going to throw you off your pointe. You can struggle and overcome that, but you will lose your grace and elegance.
For chaine turns, rise onto demi pointe in first position, sideways to a mirror. If you are standing straight, neutral pelvis, neutral spine, and turnout held, that's a good position.
Can you turn your head to the mirror to see yourself without tilting? If not, you need to do some stretching and relaxing for your neck muscles. You do this by tilting your head slowly, letting the muscles stretch a little, for three deep breaths, and then slowly bringing your head upright. 3 times 3 times a day, each side. Also, take a deep breath and then turn your head to one side, exhaling. Then try to turn a little farther, being careful not to tilt. Slowly bring it back to the front, and do the other side. 3 times, 3 times a day. Relaxing your neck is going to help with your spotting.
Being weak in your posture or turnout is going to make you tense your neck and shoulders, therefore throwing off a good turn.
Once you have established that your posture is good, and your turnout held, do a series of chaine turns along the barre, keeping your legs tight in first position. You do not step out. Practice this until you get the feel of it. This establishes correct muscle memory.
When you do the turns in the center your preparation will give you the push to get started. If you chassee into it, or step out from a plie, you then close the legs and they do not come apart at all after that.
There is always ongoing discussion of when someone should start ballet in pointe shoes. Regardless of age, ballet history or growth plates, your basic technique has to be strong, not just your feet. If you have to wait another six months or a year to correct your technique, you will enjoy pointe work a lot more once you start, because you will be able to do things. You won't be struggling.
Once in pointe shoes, chaine turns are a lot easier, as far as the turn goes. It's easy to spin. But your position and how well it is held will determine whether or not you can stay in a straight line, control the speed, and end the sequence gracefully.
Watch your favorite ballerina do chaine turns - they are tight, quick, and end quickly. You'll see how her ballet positions are perfect - and her control is perfect.
With understanding and practice you can do it too.
For understanding and developing your feet properly for pointe work, you can get The Perfect Point Book here.
Beginning at the barre, your postural plumb line, turnout and general placement must be correct and strong. It doesn't matter what kind of body you have. Posture can be correct, turnout can be held regardless of your flexibility, and placement can also be correct. I'm just saying that to encourage you. I know it is discouraging if others can do ballet more easily than you. If you are not flexible enough to get the legs extended above 90 degrees without losing placement, you do your best, and work on gaining strength so that you are not straining.
You see once you get on pointe, any tiny incorrect position is going to throw you off your pointe. You can struggle and overcome that, but you will lose your grace and elegance.
For chaine turns, rise onto demi pointe in first position, sideways to a mirror. If you are standing straight, neutral pelvis, neutral spine, and turnout held, that's a good position.
Can you turn your head to the mirror to see yourself without tilting? If not, you need to do some stretching and relaxing for your neck muscles. You do this by tilting your head slowly, letting the muscles stretch a little, for three deep breaths, and then slowly bringing your head upright. 3 times 3 times a day, each side. Also, take a deep breath and then turn your head to one side, exhaling. Then try to turn a little farther, being careful not to tilt. Slowly bring it back to the front, and do the other side. 3 times, 3 times a day. Relaxing your neck is going to help with your spotting.
Being weak in your posture or turnout is going to make you tense your neck and shoulders, therefore throwing off a good turn.
Once you have established that your posture is good, and your turnout held, do a series of chaine turns along the barre, keeping your legs tight in first position. You do not step out. Practice this until you get the feel of it. This establishes correct muscle memory.
When you do the turns in the center your preparation will give you the push to get started. If you chassee into it, or step out from a plie, you then close the legs and they do not come apart at all after that.
There is always ongoing discussion of when someone should start ballet in pointe shoes. Regardless of age, ballet history or growth plates, your basic technique has to be strong, not just your feet. If you have to wait another six months or a year to correct your technique, you will enjoy pointe work a lot more once you start, because you will be able to do things. You won't be struggling.
Once in pointe shoes, chaine turns are a lot easier, as far as the turn goes. It's easy to spin. But your position and how well it is held will determine whether or not you can stay in a straight line, control the speed, and end the sequence gracefully.
Watch your favorite ballerina do chaine turns - they are tight, quick, and end quickly. You'll see how her ballet positions are perfect - and her control is perfect.
With understanding and practice you can do it too.
For understanding and developing your feet properly for pointe work, you can get The Perfect Point Book here.
Labels:
ballerina,
ballet teacher,
pointe shoes
Does Recreational Ballet Dancing Exclude Dedication in Dance?
Recreational dancing and recreational ballet dancing come up in the top ten of many national sports and recreational lists. World wide, people love to dance. There is intense dedication in dance with students, including adult ballet students, that adds quality to their lives, and quality to our cultures in general.
Ballet training is a kind of boot camp. Especially a summer or other holiday intensive. There is no complaining about heavy schedules, schedule conflicts, demanding teachers, sore toes or aching legs. Everyone is jubilant to be there.
No one has to explain to another dancer why they are there, why they love dance. Everyone else understands the blood, sweat and tears of it. The agony and the ecstasy...shall I go on? The good, the bad and the....nitty gritty.
I spent many years in ballet schools where the chosen very few got picked to be trained. In fact, as time progressed, the ballet staffs I worked with knew less and less about how to train all but the very few, because it was no longer required of them.
Gradually evolution swung back again in favor of the recreational ballet dancer, and as schools grew, non-professional courses were accommodated better than before. And the fact that there are now so many full-time teachers' courses, that shows the cultural appreciation for well-taught classical ballet and other dance styles.
Many adult late starters choose ballet for fitness classes. They get a full-body workout, a kind of pace, or interval training, and stretching. Along with all of that, women and men in ballet get to experience their own capacity for artistry and elegance.
Dedication in dance shows up in all of these individuals who make the base of dance in our cultures. After all, who is putting out $150+ for the tickets every season? While I occasionally read a snarky comment on the fans' forums, the general attitude toward the favorite ballerinas and premiers danseurs is more like worship.
I went to a local dance recital and saw the most amazing accomplishments on stage, by students who would have been considered totally unteachable in a more elite school. Which proves the point I've always made - if you don't tell someone they cannot do something, they will, in their ignorance, go ahead and learn how to do it.
It takes special teachers to draw the talent and finer details of artistry out of a highly strung, perfectionist, self-doubting top-talent professional student.
It also takes special teachers who will get a whole school of lesser or "ugly-duckling" ballet students, motley crews of physiques and late starter men in ballet, to perform excerpts from the classical ballets in their recitals with considerable polish.
If you love ballet or dancing in general, how to dance ballet your best is what matters. If you study recreational ballet dancing, your dedication in dance is your dedication to yourself, and the inner world where you dance. Thanks for letting us catch a glimpse of it.
Ballet training is a kind of boot camp. Especially a summer or other holiday intensive. There is no complaining about heavy schedules, schedule conflicts, demanding teachers, sore toes or aching legs. Everyone is jubilant to be there.
No one has to explain to another dancer why they are there, why they love dance. Everyone else understands the blood, sweat and tears of it. The agony and the ecstasy...shall I go on? The good, the bad and the....nitty gritty.
I spent many years in ballet schools where the chosen very few got picked to be trained. In fact, as time progressed, the ballet staffs I worked with knew less and less about how to train all but the very few, because it was no longer required of them.
Gradually evolution swung back again in favor of the recreational ballet dancer, and as schools grew, non-professional courses were accommodated better than before. And the fact that there are now so many full-time teachers' courses, that shows the cultural appreciation for well-taught classical ballet and other dance styles.
Many adult late starters choose ballet for fitness classes. They get a full-body workout, a kind of pace, or interval training, and stretching. Along with all of that, women and men in ballet get to experience their own capacity for artistry and elegance.
Dedication in dance shows up in all of these individuals who make the base of dance in our cultures. After all, who is putting out $150+ for the tickets every season? While I occasionally read a snarky comment on the fans' forums, the general attitude toward the favorite ballerinas and premiers danseurs is more like worship.
I went to a local dance recital and saw the most amazing accomplishments on stage, by students who would have been considered totally unteachable in a more elite school. Which proves the point I've always made - if you don't tell someone they cannot do something, they will, in their ignorance, go ahead and learn how to do it.
It takes special teachers to draw the talent and finer details of artistry out of a highly strung, perfectionist, self-doubting top-talent professional student.
It also takes special teachers who will get a whole school of lesser or "ugly-duckling" ballet students, motley crews of physiques and late starter men in ballet, to perform excerpts from the classical ballets in their recitals with considerable polish.
If you love ballet or dancing in general, how to dance ballet your best is what matters. If you study recreational ballet dancing, your dedication in dance is your dedication to yourself, and the inner world where you dance. Thanks for letting us catch a glimpse of it.
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