Spotting is the technique used by ballet dancers to avoid dizziness while doing multiple turns. In ballet classes, and in theaters, dancers will find a "spot" that they can see, and upon which they will focus throughout, for example, the 32 fouettes performed in Swan Lake by the ballerina, or a series of turns a la seconde by the male dancer.
When you reach the point in ballet training where turns are added to your class exercises, often spotting will be taught first.
Imagine a child spinning, just for the joy of it. Children will do this until they are too dizzy to stay upright, and then they will collapse. In the dance studio, the same playful spin can be done. With one difference.
Choosing a spot on the wall, which could be a picture of a famous ballerina, or whatever decoration the dance teacher may have chosen to inspire her/his students, a dance student can spin while focusing on the spot.
In slow motion, as the dancer spins away from the front, or corner of the studio as it may be, she or he leaves their head behind, focusing on the spot. At the last possible moment, the dancer whips the head around to regain focus before the body reaches the front again.
That is spotting. Within the requirements of ballet technique a few points are added.
The head must not incline. The entire body posture of a retire position, or an a la seconde position, must not be influenced by the head staying behind to remain focused on the spot. Same for a turn in arabesque or attitude.
Usually, chainee turns are the first ones learned. Remaining in first position, the entire body position must be held while the dancer spots.
This achievement then assumes that the core and turnout muscles are well held. The arms remain in a fifth en avant or slightly over - crossed position, and the NECK IS RELAXED, allowing the head to spot, without inclination.
A modern, jazz or hip hop dancer does the same.
Image: many years ago I watched Helgi Thomason give dancer Victor Edwards a correction in class. He said something like "imagine your body is spinning underneath your head, which just stays looking at the front".
That's spotting.
Every dancer needs to accomplish proper spotting before dancing in pointe shoes. The most subtle errors in posture, turnout, and basic ballet positions will be exaggerated once you are en pointe. Be prepared for dancing in pointe shoes by getting a professionally written guide specific for pointe shoe exercises.
Showing posts with label ballet classes. Show all posts
Showing posts with label ballet classes. Show all posts
How to Start Stretching For Adult Beginner Ballet Classes
If you're planning to enroll for adult beginner ballet classes, there are two very safe stretches that you can do before you learn anything about ballet. You can do these every day and continue them once you start ballet lessons. Even if you never carry through with dance classes, learn these anyway as they will help to avoid back pain. And if you dance, get some fabulous and easy to learn muscle stretching exercises with The Ultimate Stretching Guide!
Why is back pain so common among adults? Even among adults with no history of injury or back strain, low back pain especially can become a chronic problem, mild or severe.
As you age, your flexibility decreases. Your long muscles that allow a certain range of motion, get shorter. Your joints begin to lose their range of motion, and the ligaments that hold bone to bone begin to lose their strength. Similar to an elastic band aging and getting less elastic. However, your ligaments and muscles will not just fall apart one day like an old elastic band.
However, you will start to feel pain as you continue to try and move and do all the things you are used to doing. You depend on the muscles at the front of your body, the muscles across your chest and shoulders, and the muscles at the front of your spine and hips, for a lot of every day motions. You particularly lose flexibility in these muscles from sitting at a desk, typing and staring at a computer monitor, or similar sedentary inactivity.
Loosening up these muscles is all you need to do. Ligaments do not need to be stretched - in fact, joint stability depends on their integrity.
So here are two easy stretches that will help you avoid back pain.
Done correctly, you may find some aches and pains that you already have will disappear. Healthy muscles are relaxed, and can stretch when you need them to, for daily activities.
My chiropractor calls this 'the doorway stretch'. Standing in a doorway, place the palm of your hand against the door jamb, above shoulder level, so that your arm is bent at a 90-degree angle, and your armpit is right against the door jamb. Press your hand and arm into it. Slowly press forward increasing the stretch, not to a point of any pain, just a stretchy feeling. Hold for about a ten count. Repeat with the other arm.
You are stretching muscles that routinely tense, especially if you are not sitting with your hips against the back of your chair, your spine upright in its natural curve, head held straight, neck relaxed. And of course your monitor, keyboard, mouse, arm rests are all ergonomically placed perfectly. I know! Who sits like that?
Allowing these muscles to retain more and more tension without relief, will pull on your neck muscles, upper back muscles and lead to headaches and neck and shoulder pain. Now you can reverse that trend.
For your low back and hip area: stand with feet together, and take a long step forward. Keep your hips and low back upright, and place your hands on your hips so you can feel it if your posture changes.
Bend your back leg slowly, lowering into a runner's lunge, not uncomfortably deep. You will feel the stretch at the front of your hips. The posture muscles at the front of your spine will get this stretch as well, and also the front of your back thigh. Hold for a 10 count, and switch legs.
You will be more able to stretch after a hot bath or shower. If you do any kind of exercise class, do after class while you're warm.
In a dance studio, before a class, you will see dancers sitting on the floor in stretch positions, or maybe with their legs on the barre in a stretched ballet position. They are not really stretching, they are just checking their positions and loosening up a little. So don't copy what ballet dancers do before class. You'll see them really go at it after a 45 minute barre, or at the end of a class.
For those who have had an injury or who are experiencing any sharp or burning back muscle pains, see your health care practitioner before trying these exercises.
If you try ballet as an adult beginner and later opt for another style of workout, keep up these two very healthy exercises. And get your copy of The Ultimate Stretching Guide for muscle stretching exercises.
Why is back pain so common among adults? Even among adults with no history of injury or back strain, low back pain especially can become a chronic problem, mild or severe.
As you age, your flexibility decreases. Your long muscles that allow a certain range of motion, get shorter. Your joints begin to lose their range of motion, and the ligaments that hold bone to bone begin to lose their strength. Similar to an elastic band aging and getting less elastic. However, your ligaments and muscles will not just fall apart one day like an old elastic band.
However, you will start to feel pain as you continue to try and move and do all the things you are used to doing. You depend on the muscles at the front of your body, the muscles across your chest and shoulders, and the muscles at the front of your spine and hips, for a lot of every day motions. You particularly lose flexibility in these muscles from sitting at a desk, typing and staring at a computer monitor, or similar sedentary inactivity.
Loosening up these muscles is all you need to do. Ligaments do not need to be stretched - in fact, joint stability depends on their integrity.
So here are two easy stretches that will help you avoid back pain.
Done correctly, you may find some aches and pains that you already have will disappear. Healthy muscles are relaxed, and can stretch when you need them to, for daily activities.
My chiropractor calls this 'the doorway stretch'. Standing in a doorway, place the palm of your hand against the door jamb, above shoulder level, so that your arm is bent at a 90-degree angle, and your armpit is right against the door jamb. Press your hand and arm into it. Slowly press forward increasing the stretch, not to a point of any pain, just a stretchy feeling. Hold for about a ten count. Repeat with the other arm.
You are stretching muscles that routinely tense, especially if you are not sitting with your hips against the back of your chair, your spine upright in its natural curve, head held straight, neck relaxed. And of course your monitor, keyboard, mouse, arm rests are all ergonomically placed perfectly. I know! Who sits like that?
Allowing these muscles to retain more and more tension without relief, will pull on your neck muscles, upper back muscles and lead to headaches and neck and shoulder pain. Now you can reverse that trend.
For your low back and hip area: stand with feet together, and take a long step forward. Keep your hips and low back upright, and place your hands on your hips so you can feel it if your posture changes.
Bend your back leg slowly, lowering into a runner's lunge, not uncomfortably deep. You will feel the stretch at the front of your hips. The posture muscles at the front of your spine will get this stretch as well, and also the front of your back thigh. Hold for a 10 count, and switch legs.
You will be more able to stretch after a hot bath or shower. If you do any kind of exercise class, do after class while you're warm.
In a dance studio, before a class, you will see dancers sitting on the floor in stretch positions, or maybe with their legs on the barre in a stretched ballet position. They are not really stretching, they are just checking their positions and loosening up a little. So don't copy what ballet dancers do before class. You'll see them really go at it after a 45 minute barre, or at the end of a class.
For those who have had an injury or who are experiencing any sharp or burning back muscle pains, see your health care practitioner before trying these exercises.
If you try ballet as an adult beginner and later opt for another style of workout, keep up these two very healthy exercises. And get your copy of The Ultimate Stretching Guide for muscle stretching exercises.
How to Set Priorities With Your Corrections in Ballet Classes
Whenever you get corrections in class, how do you set priorities for fixing them? For example, if you get a correction while doing demi or grand plie, that's a priority to fix, because it will affect everything else you do.
Especially in pointe shoes, a flaw in how you do a plie will affect your posture, balance, strength of turnout, and go on to affect pirouettes and more.
It will also affect your allegro, or jumps.
If you get a correction later in the ballet barre work, that may be where your ballet teacher first noticed the error, in that class.
However, if your dance teacher does not address it further, it is up to you to figure out where in the basic ballet positions, ballet movements, or ballet technique, you need to go, to fix your correction.
As an example, if your teacher corrects tense or "spiky" fingers during a ronde de jambe a terre combination, you need to (after class) back-peddle mentally to figure out why your fingers are tense looking.
Relaxed hands and fingers are the result of strength in the core muscles. If the core muscles are strong enough to support posture, turnout and ballet positions, then there will not be any extra tension traveling to the neck, shoulders, and down the arms to the hands.
So, as your own experiment, see if there is any strain in your plie exercises in class. Do you understand what muscles should be working hard, and relaxing, at what point during the exercise? Tension in ballet is FLUID. It is always changing.
Understanding plies and tendus, in ballet, will lead to your understanding every aspect of ballet technique. Posture, turnout and balance are all equally important parts of ballet technique (including the proper use of the intrinsic foot muscles for demi pointe and full pointe). And most other dance techniques, not to mention football, tennis and more. (Tennis pros and football teams study ballet to develop footwork and prevent sports injuries). It's all about doing what the body can do, and not trying to make it do what it cannot do.
Try to relate all your corrections back to your basic ballet movements. If you can fix the most basic flaws in your ballet technique, you will fix many things that can go wrong in a ballet class.
Dancing ballet successfully does not depend on perfection. It does depend on you understanding how close to the ideal you are. And, what keeps you from the ideal - physique, muscle weakness, or lack of technical comprehension. I've taught ten year olds who had this sorted out within months of starting training in classical ballet. Something just clicked for them that way.
So wherever you are in your ballet training, start right now to analyze and set your priorities with your corrections in ballet class. Pick the most basic correction that you get, and focus on it. Search for the information that you need, and I bet you'll figure it out, and you'll be dancing ballet better.
Especially in pointe shoes, a flaw in how you do a plie will affect your posture, balance, strength of turnout, and go on to affect pirouettes and more.
It will also affect your allegro, or jumps.
If you get a correction later in the ballet barre work, that may be where your ballet teacher first noticed the error, in that class.
However, if your dance teacher does not address it further, it is up to you to figure out where in the basic ballet positions, ballet movements, or ballet technique, you need to go, to fix your correction.
As an example, if your teacher corrects tense or "spiky" fingers during a ronde de jambe a terre combination, you need to (after class) back-peddle mentally to figure out why your fingers are tense looking.
Relaxed hands and fingers are the result of strength in the core muscles. If the core muscles are strong enough to support posture, turnout and ballet positions, then there will not be any extra tension traveling to the neck, shoulders, and down the arms to the hands.
So, as your own experiment, see if there is any strain in your plie exercises in class. Do you understand what muscles should be working hard, and relaxing, at what point during the exercise? Tension in ballet is FLUID. It is always changing.
Understanding plies and tendus, in ballet, will lead to your understanding every aspect of ballet technique. Posture, turnout and balance are all equally important parts of ballet technique (including the proper use of the intrinsic foot muscles for demi pointe and full pointe). And most other dance techniques, not to mention football, tennis and more. (Tennis pros and football teams study ballet to develop footwork and prevent sports injuries). It's all about doing what the body can do, and not trying to make it do what it cannot do.
Try to relate all your corrections back to your basic ballet movements. If you can fix the most basic flaws in your ballet technique, you will fix many things that can go wrong in a ballet class.
Dancing ballet successfully does not depend on perfection. It does depend on you understanding how close to the ideal you are. And, what keeps you from the ideal - physique, muscle weakness, or lack of technical comprehension. I've taught ten year olds who had this sorted out within months of starting training in classical ballet. Something just clicked for them that way.
So wherever you are in your ballet training, start right now to analyze and set your priorities with your corrections in ballet class. Pick the most basic correction that you get, and focus on it. Search for the information that you need, and I bet you'll figure it out, and you'll be dancing ballet better.
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".
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