Understanding basic ballet positions, to most people, means the five positions of the feet. Yet, a position more basic than those, is the position your body is in when you are standing with your feet parallel, in a comfortably held good posture. Understanding your personal starting point will help you progress faster.
You may not be asked to do this in a beginner (including adult beginner) ballet class. If your teacher skips this step, you can do it at home.
Stand in front of a mirror in your ballet clothes, or wear shorts and a tight top so you can see your knees, and your general posture. A hard floor is better than a plush carpet. Here are things to notice:
- are your feet evenly touching the floor with your weight distributed evenly between the center of your heel, the little toe joint area and the big toe joint area (this is often called "tripod")
- do your ankles roll inward or outward
- do your calves naturally stand in a straight line upward to your knees, or do they bow out slightly
- do your knees face the front or slightly inward
- are your hips and shoulders level or even a tiny bit uneven
- standing sideways to the mirror, are your knees above your ankles or do they over-straighten and curve behind you
- is there a small curve inward at the small of your back (everyone's natural curve will look different in relation to the shape of their gluteal muscles)
- can you pull the very bottom of your abdomen up and in without changing the tilt of your pelvis
- is your chest lifted allowing your shoulders to relax, not drooping forward
- is your neck relaxed - turn your head slightly from side to side, and up and down a little, to get into a relaxed position
Of course it is your teacher's job to notice all of this, but it gets you ahead if you can see these factors, and correct yourself as much as possible. Always ask for help if you need more information to be sure.
All of the above will determine how you will stand in first, second, third, fourth and fifth ballet positions. Aside from introducing the element of turn out, your understanding of posture and how your feet are placed on the floor, will determine how you progress learning basic ballet positions.
Learn more details about accurate ballet positions and movements like retire, releve, and how to correct your turnout and posture for dancing ballet in pointe shoes.
Showing posts with label ballet shoes. Show all posts
Showing posts with label ballet shoes. Show all posts
Ballet Shoes and the Perfect Pointe Muscles
Both young and adult ballet beginners wonder when they can dance in pointe shoes. The process of training foot muscles begins in your very first ballet class. Learning accurate ballet technique from day one is your best way to get into pointe shoes faster. Following are a few tips for ballet training.
The proper use of foot muscles begins even before you pointe your foot. Here is a quick review:
Your street shoes! Do you wear supportive shoes generally? If you alternate between pointed toe high heels and flip-flops, you may decide to make a lifestyle change to help prepare your foot muscles for dancing ballet in pointe shoes.
High heels are usually pointed, angling in the big toe. This strains the soft tissues around the toe joint, and ultimately can lead to painful bunions.
High heels will usually throw your posture out of a neutral spine position - which means, that when neutral, all your natural spinal curves are in place, with no unnecessary tension compromising your neck/shoulder/spinal/hip joints. With all those with neutral spinal position in high heels please raise their hands...you get the idea that this would be rare.
High heels throw your weight forward off the "tripod" platform of even distribution from the middle heel point, to the point at the big toe metatarsal joint and the little toe metatarsal joint, thus the tripod metaphor. This will affect your posture and muscle tension required to go about life.
Flip-flops force the muscles in the sole of the foot (the exact muscles that ultimately allow you to control your positions and movements in point shoes) to clench, just to keep the shoes on! You get used to this, but it is a contraction of the foot you would not normally need if you were wearing supportive shoes. While foot massage, proper stretching, and other foot pampering can partly compensate for flip-flop wearing, would all those who wear flip-flops who daily massage and stretch their foot muscles please raise.....
Worn out oxfords and sneakers (for you men in ballet) will also compromise the daily use of your foot muscles. Your feet have to do what the shoes cannot.
In your first ballet class you will learn how to stand in first position. Here it will most likely be mentioned that your feet should be flat on the floor, foot muscles not clenched in any way. Thus you achieve the tripod weight distribution. If your feet pronate (ankles/arches dropping inwards) or supinate (rolling outwards) hopefully your teacher will notice and address your posture - spine/hips/knees/ankles, and locate the source of the pronation. Weak muscles will strengthen, and eventually you can remedy improper foot placement on the floor.
So you see, before you do your first demi plie as a young or adult ballet beginner, you can do a lot to improve your work in ballet shoes and pointe shoes .
The proper use of foot muscles begins even before you pointe your foot. Here is a quick review:
Your street shoes! Do you wear supportive shoes generally? If you alternate between pointed toe high heels and flip-flops, you may decide to make a lifestyle change to help prepare your foot muscles for dancing ballet in pointe shoes.
High heels are usually pointed, angling in the big toe. This strains the soft tissues around the toe joint, and ultimately can lead to painful bunions.
High heels will usually throw your posture out of a neutral spine position - which means, that when neutral, all your natural spinal curves are in place, with no unnecessary tension compromising your neck/shoulder/spinal/hip joints. With all those with neutral spinal position in high heels please raise their hands...you get the idea that this would be rare.
High heels throw your weight forward off the "tripod" platform of even distribution from the middle heel point, to the point at the big toe metatarsal joint and the little toe metatarsal joint, thus the tripod metaphor. This will affect your posture and muscle tension required to go about life.
Flip-flops force the muscles in the sole of the foot (the exact muscles that ultimately allow you to control your positions and movements in point shoes) to clench, just to keep the shoes on! You get used to this, but it is a contraction of the foot you would not normally need if you were wearing supportive shoes. While foot massage, proper stretching, and other foot pampering can partly compensate for flip-flop wearing, would all those who wear flip-flops who daily massage and stretch their foot muscles please raise.....
Worn out oxfords and sneakers (for you men in ballet) will also compromise the daily use of your foot muscles. Your feet have to do what the shoes cannot.
In your first ballet class you will learn how to stand in first position. Here it will most likely be mentioned that your feet should be flat on the floor, foot muscles not clenched in any way. Thus you achieve the tripod weight distribution. If your feet pronate (ankles/arches dropping inwards) or supinate (rolling outwards) hopefully your teacher will notice and address your posture - spine/hips/knees/ankles, and locate the source of the pronation. Weak muscles will strengthen, and eventually you can remedy improper foot placement on the floor.
So you see, before you do your first demi plie as a young or adult ballet beginner, you can do a lot to improve your work in ballet shoes and pointe shoes .
Injuring the Hamstring and Patience With Rehabilitation in Ballet Shoes and Pointe Shoes
Patience with rehabilitation is not easy for ballet dancers. Muscle pulls are rarely serious, but without proper treatment and rehabilitation, they can become a chronic situation. With the hamstring muscle, which is involved in every ballet position and ballet movement in the lower body, special care is needed to keep it relaxed and stretched properly after ballet class.
The hamstring muscle, at the back of the thigh, must be strengthened to ensure that it is not out-powered by the quadriceps at the front of the thigh, causing imbalance in the body structure. If the quadriceps muscle is much stronger that the hamstrings, which is the usual case, it can pull on the hamstring muscle and cause injuries.
Other imbalances such as the misalignment of the pelvis can also lead to extra tension in the hamstrings. Chiropractic care is a necessary routine for would-be ballerinas and men in ballet.
Patience to warm up before class, and then afterward, to cool down with relaxed stretching, (meaning not in a rush, not when your mind is already focusing on something else), is extremely important for the hamstring. It is a large muscle with a plentiful blood supply that is capable of creating substantial inflammation and scar tissue once the muscle is pulled.
Growth spurts can cause imbalances as well, resulting in temporary loss of balance, flexibility and strength.
Without understanding these factors, well-trained and serious ballet students will struggle to work harder, endure a little more pain, and may become very frustrated when the expected optimum results don't show up. They might feel that they should be adding some cross training or more ballet classes. However, this will only irritate the hamstring injury.
Once a hamstring is pulled, and on the mend, stretching to do the splits should only be done after use of the pinky ball (as described in the dancing smart series) on the hamstrings, quads, gluts and even calves (why not while you're at it). And of course after a full class when you are at your warmest. Then stretch to feel a stretch, not to feel pain.
It's often a month or two after a hamstring pull, that the muscle will feel well again, with the best of care. With no special treatment, the muscle will be unwell, with the condition possibly lingering for months.
Work your best in ballet class to avoid injuring the hamstring muscle. Don't stretch with partners. Exercise patience with rehabilitation, and see a chiropractor or physio therapist for help. Strengthening and stretching properly will get you the best ballet positions, as well as years dancing in ballet shoes and pointe shoes.
The hamstring muscle, at the back of the thigh, must be strengthened to ensure that it is not out-powered by the quadriceps at the front of the thigh, causing imbalance in the body structure. If the quadriceps muscle is much stronger that the hamstrings, which is the usual case, it can pull on the hamstring muscle and cause injuries.
Other imbalances such as the misalignment of the pelvis can also lead to extra tension in the hamstrings. Chiropractic care is a necessary routine for would-be ballerinas and men in ballet.
Patience to warm up before class, and then afterward, to cool down with relaxed stretching, (meaning not in a rush, not when your mind is already focusing on something else), is extremely important for the hamstring. It is a large muscle with a plentiful blood supply that is capable of creating substantial inflammation and scar tissue once the muscle is pulled.
Growth spurts can cause imbalances as well, resulting in temporary loss of balance, flexibility and strength.
Without understanding these factors, well-trained and serious ballet students will struggle to work harder, endure a little more pain, and may become very frustrated when the expected optimum results don't show up. They might feel that they should be adding some cross training or more ballet classes. However, this will only irritate the hamstring injury.
Once a hamstring is pulled, and on the mend, stretching to do the splits should only be done after use of the pinky ball (as described in the dancing smart series) on the hamstrings, quads, gluts and even calves (why not while you're at it). And of course after a full class when you are at your warmest. Then stretch to feel a stretch, not to feel pain.
It's often a month or two after a hamstring pull, that the muscle will feel well again, with the best of care. With no special treatment, the muscle will be unwell, with the condition possibly lingering for months.
Work your best in ballet class to avoid injuring the hamstring muscle. Don't stretch with partners. Exercise patience with rehabilitation, and see a chiropractor or physio therapist for help. Strengthening and stretching properly will get you the best ballet positions, as well as years dancing in ballet shoes and pointe shoes.
How to Prevent Knee Injuries in Ballet Shoes and Pointe Shoes
If you are among those dancing in ballet shoes and pointe shoes, knowing why ballet technique is the way it is will help you prevent ballet injuries. Healthy knee function is not possible without healthy foot function. Also, in learning how to prevent knee injuries, understanding the function of the foot, knee, hip and spine connection is useful, at least in a general sense.
The knee joint is engineered beautifully. It has ligaments to prevent too much movement in any given direction, and a shock absorber as well, the meniscus behind the kneecap, or patella.
Classical ballet, and other athletic activity involves sudden change of direction, twisting, leaping, and sudden starts and stops.
Fortunately in ballet, we have turnout to assist us with these factors.
If our turnout is not strong, there is risk to the knee joint.
If our posture is incorrect, in the low back and core area, there is risk to the knee joint. Crunched and chronically tense rotator (turnout) muscles, quads (thigh muscles), hamstrings (back of thigh muscles), result from an incorrect pelvic position. This leads to nearly all the other muscles involved in ballet technique, ballet positions and ballet movements, being held in tense positions, instead of being fluid.
While tension is needed to dance ballet, tension should be fluid. The years of repetition in ballet training should result in the reflexes needed to constantly increase and release tension.
Think of your favorite ballerinas and leading male dancers. One of the observable qualities to their dancing is the effortlessness. They make it look so easy. You don't necessarily think of pillars of strength, although they are very strong. You can feel their fluidity when you watch them in difficult roles such as Swan Lake, Don Quixote and other classics.
So, back to the knee joints - ligaments and shocks are in place. We have turnout to make the best use of them.
Foot strength is a major factor. A high percentage of the general population pronates, that is, allows their feet to collapse toward the inner side, when they walk, run, dance, whenever their feet hit the ground.
Proper posture, use of turnout muscles, correcting hyper-extended knees placement, if hyper-extension is present, and strengthening of the intrinsic (exclusive to the foot) muscles can compensate for this factor and prevent knee injuries.
Knowing how to relax muscles after hard work, for instance with a pinkie ball, is a needed element in ballet training, as well. Not many ballet students have the time or opportunity to get regular massages. But hard working muscles must get relaxed, and must be given recovery time, neither of which factors are typical in ballet training.
If you are involved in ballet training and have ANY pain or persistent soreness in your knees, see a professional. A chiropractor, or physio-therapist with experience in dance or sports injuries will help you.
Also ask your ballet teacher to watch the finer details of your posture, turnout, and foot placement on the floor. These factors are never isolated. Educate yourself as well, with the expertly written dance manuals that are now available to anyone on the internet. The Perfect Pointe Book will give you the details you need to review your ballet technique in all the ways that it affects your knees.
Eat a healthy diet to support your ligaments and muscles. You will be able to prevent knee injuries and enjoy your dancing in ballet shoes and pointe shoes.
The knee joint is engineered beautifully. It has ligaments to prevent too much movement in any given direction, and a shock absorber as well, the meniscus behind the kneecap, or patella.
Classical ballet, and other athletic activity involves sudden change of direction, twisting, leaping, and sudden starts and stops.
Fortunately in ballet, we have turnout to assist us with these factors.
If our turnout is not strong, there is risk to the knee joint.
If our posture is incorrect, in the low back and core area, there is risk to the knee joint. Crunched and chronically tense rotator (turnout) muscles, quads (thigh muscles), hamstrings (back of thigh muscles), result from an incorrect pelvic position. This leads to nearly all the other muscles involved in ballet technique, ballet positions and ballet movements, being held in tense positions, instead of being fluid.
While tension is needed to dance ballet, tension should be fluid. The years of repetition in ballet training should result in the reflexes needed to constantly increase and release tension.
Think of your favorite ballerinas and leading male dancers. One of the observable qualities to their dancing is the effortlessness. They make it look so easy. You don't necessarily think of pillars of strength, although they are very strong. You can feel their fluidity when you watch them in difficult roles such as Swan Lake, Don Quixote and other classics.
So, back to the knee joints - ligaments and shocks are in place. We have turnout to make the best use of them.
Foot strength is a major factor. A high percentage of the general population pronates, that is, allows their feet to collapse toward the inner side, when they walk, run, dance, whenever their feet hit the ground.
Proper posture, use of turnout muscles, correcting hyper-extended knees placement, if hyper-extension is present, and strengthening of the intrinsic (exclusive to the foot) muscles can compensate for this factor and prevent knee injuries.
Knowing how to relax muscles after hard work, for instance with a pinkie ball, is a needed element in ballet training, as well. Not many ballet students have the time or opportunity to get regular massages. But hard working muscles must get relaxed, and must be given recovery time, neither of which factors are typical in ballet training.
If you are involved in ballet training and have ANY pain or persistent soreness in your knees, see a professional. A chiropractor, or physio-therapist with experience in dance or sports injuries will help you.
Also ask your ballet teacher to watch the finer details of your posture, turnout, and foot placement on the floor. These factors are never isolated. Educate yourself as well, with the expertly written dance manuals that are now available to anyone on the internet. The Perfect Pointe Book will give you the details you need to review your ballet technique in all the ways that it affects your knees.
Eat a healthy diet to support your ligaments and muscles. You will be able to prevent knee injuries and enjoy your dancing in ballet shoes and pointe shoes.
Ballet Shoes, the Movie, With Emma Watson
This is great entertainment for children, with theater, dance, music, competition, and fierce family devotion. The drama, based on Noel Streatfeild's novel, the costumes, the characters, and the sets are wonderful. For Emma Watson fans, this is her first film outside of the Harry Potter series of films.
"Ballet Shoes" was originally published in 1937. This movie is a 2007 BBC Northern Ireland production starring Eileen Atkins, Peter Bowles, Richard Griffiths, Gemma Jones, and Harriet Walter.
The Fossils are 3 orphans "collected" by Great Uncle Matthew (referred to as Gum by the girls). They grow up as an unconventional family living in 1930's London. Sylvia, Gum's niece is left in Gum's house to raise the girls with her Nana.
Gum roams the world, and his absences become longer and longer. The household runs out of money, and Sylvia takes in boarders. She enrolls the girls in the Academy of Dance and Stage Training to further their education and prepare them to earn a comfortable living. The three ambitious girls discover their own personal calling and work hard to achieve their dreams.
Posy, the youngest girl, was collected by Gum along with a pair of pink satin pointe shoes, from a poor young mother who could not care for a baby while dancing ballet for a living. Despite the title, more of the story deals with Pauline and her developing acting career. "Ballet Shoes" centers on the girls' devotion to their family. They periodically renew a vow to be loyal and help one another.
The boarders at Gum's house are colorful human beings who become part of the family spirit. The film is inspiring and energetic. Scenes of London theater in the 30's are beautifully portrayed. Pauline rises to the demands of becoming a young wage earner, with an intense sense of responsibility to her sisters, Aunt Sylvia, and Nana. All the "good guys" win, and hopes and dreams are fulfilled for all.
"Ballet Shoes" is one of a series of "shoes" books by Noel Streatfeild, but has remained in the most popular position since 1937. It is an entertaining family film for all ages.
Get your pink satin ballet shoes here as well as everything to do with ballet.
"Ballet Shoes" was originally published in 1937. This movie is a 2007 BBC Northern Ireland production starring Eileen Atkins, Peter Bowles, Richard Griffiths, Gemma Jones, and Harriet Walter.
The Fossils are 3 orphans "collected" by Great Uncle Matthew (referred to as Gum by the girls). They grow up as an unconventional family living in 1930's London. Sylvia, Gum's niece is left in Gum's house to raise the girls with her Nana.
Gum roams the world, and his absences become longer and longer. The household runs out of money, and Sylvia takes in boarders. She enrolls the girls in the Academy of Dance and Stage Training to further their education and prepare them to earn a comfortable living. The three ambitious girls discover their own personal calling and work hard to achieve their dreams.
Posy, the youngest girl, was collected by Gum along with a pair of pink satin pointe shoes, from a poor young mother who could not care for a baby while dancing ballet for a living. Despite the title, more of the story deals with Pauline and her developing acting career. "Ballet Shoes" centers on the girls' devotion to their family. They periodically renew a vow to be loyal and help one another.
The boarders at Gum's house are colorful human beings who become part of the family spirit. The film is inspiring and energetic. Scenes of London theater in the 30's are beautifully portrayed. Pauline rises to the demands of becoming a young wage earner, with an intense sense of responsibility to her sisters, Aunt Sylvia, and Nana. All the "good guys" win, and hopes and dreams are fulfilled for all.
"Ballet Shoes" is one of a series of "shoes" books by Noel Streatfeild, but has remained in the most popular position since 1937. It is an entertaining family film for all ages.
Get your pink satin ballet shoes here as well as everything to do with ballet.
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Train Your Brain and Activate the Body Mind Connection by Watching the Best Ballet Movies
When schedules are tight, dvd movies can offer a wonderful form of entertainment and escape. Whether you're in the mood for action adventure, romance, comedy, drama or the grueling technical moves and ballet positions, the world of ballet movies provides all.
Knowing that you can watch a movie in the spare time you choose for that, can give you something to look forward to. Even if, like many ballet students, you use the same time frame to sit on the floor and stretch, ice sore muscles or sew your ballet shoes or pointe shoes.
You can buy dvd movies nearly anywhere-many supermarkets, book stores, computer and gadget stores or specialty movie stores. Ebay and other online stores such as Amazon sell ballet movies.
Typical movie and game chain stores rent them by the day or week. But it is even more convenient to rent dvds through a mail-order service. These services allow you to drop the movies into a mail box. Many dvd movies contain added sections that show "the making of", interviews and out-takes - the mistakes that are made while filming the movie.
One of the reasons I encourage students to watch ballet DVDs is because they can view the technique they are trying to learn. Most teachers do not demonstrate with the finesse of a ballerina (unless they are one, and I mean at the top of the profession, since the term ballerina can get very loosely applied), and some teachers believe they should demonstrate very little, in advanced classes.
Firstly of course, you want to view the ballet story for its drama or comedy. Get swept away. That's what you want to do as a performer. Stop time, suspend thought, take your audience on a dramatic journey, or hypnotise them with spell-binding choreography and its flawless rendition.
Secondly, view it again and focus on the best technical parts. Maybe the dancers you admire have not trained the way you are training now. They execute dance in a different technical style. However, you can train your brain by watching and feeling the steps you focus on. Training your eye to spot technical points and excellent ballet positions is part of training your brain.
Another quality to watch for and enjoy is musicality. Professional dancers changed musical phrasing to hide technical shortcomings in some cases, and to highlight their strengths. Some good jumpers need more time in the air. Some ballerinas can do more turns. There is an art in their phrasing of the preparation steps, which then give the time they need.
Being sensitive to this element will improve your own work, ultimately.
The historical element of ballet is viewable now. Dance on film, particularly from old Russian productions, is available. You can watch the teachers of your teachers' teachers. One of my favorites is The Ballets Russes, a newer production with old footage and interviews with surviving ballerinas who escaped Bolshevik Russia and regrouped in Europe under Diaghilev.
The new productions and modern ballets are all there in the stores - particularly the online libraries.
So enjoy!
This online ballet library is exceptional.
Knowing that you can watch a movie in the spare time you choose for that, can give you something to look forward to. Even if, like many ballet students, you use the same time frame to sit on the floor and stretch, ice sore muscles or sew your ballet shoes or pointe shoes.
You can buy dvd movies nearly anywhere-many supermarkets, book stores, computer and gadget stores or specialty movie stores. Ebay and other online stores such as Amazon sell ballet movies.
Typical movie and game chain stores rent them by the day or week. But it is even more convenient to rent dvds through a mail-order service. These services allow you to drop the movies into a mail box. Many dvd movies contain added sections that show "the making of", interviews and out-takes - the mistakes that are made while filming the movie.
One of the reasons I encourage students to watch ballet DVDs is because they can view the technique they are trying to learn. Most teachers do not demonstrate with the finesse of a ballerina (unless they are one, and I mean at the top of the profession, since the term ballerina can get very loosely applied), and some teachers believe they should demonstrate very little, in advanced classes.
Firstly of course, you want to view the ballet story for its drama or comedy. Get swept away. That's what you want to do as a performer. Stop time, suspend thought, take your audience on a dramatic journey, or hypnotise them with spell-binding choreography and its flawless rendition.
Secondly, view it again and focus on the best technical parts. Maybe the dancers you admire have not trained the way you are training now. They execute dance in a different technical style. However, you can train your brain by watching and feeling the steps you focus on. Training your eye to spot technical points and excellent ballet positions is part of training your brain.
Another quality to watch for and enjoy is musicality. Professional dancers changed musical phrasing to hide technical shortcomings in some cases, and to highlight their strengths. Some good jumpers need more time in the air. Some ballerinas can do more turns. There is an art in their phrasing of the preparation steps, which then give the time they need.
Being sensitive to this element will improve your own work, ultimately.
The historical element of ballet is viewable now. Dance on film, particularly from old Russian productions, is available. You can watch the teachers of your teachers' teachers. One of my favorites is The Ballets Russes, a newer production with old footage and interviews with surviving ballerinas who escaped Bolshevik Russia and regrouped in Europe under Diaghilev.
The new productions and modern ballets are all there in the stores - particularly the online libraries.
So enjoy!
This online ballet library is exceptional.
How to Prevent Foot Injuries in Ballet Shoes and Pointe Shoes, Or Without Shoes
Did you learn how to use the foot properly in ballet with your first lesson? Sitting on the floor with the legs stretched out in front? The proper line in the stretched foot can be seen and understood easily this way.
A short anatomy lesson on the foot explains why classical ballet technique is finely detailed and exacting, in order to build strength and prevent foot injuries throughout dance training.
Here is some basic anatomical facts about your feet:
*** The support is provided by 28 bones
*** 19 muscles attach to these bones by tendons
*** 30 different joints held together by up to 117 ligaments allow finely detailed movement
*** There are many yards of blood vessels and a complex nerve system
*** Each foot has 125,000 sweat glands
*** Everything is covered by sheets or bands of tough connective tissue called fascia
When you consider that a ballerina or a male ballet dancer spends years training, and then performing, and each time their feet hit the ground they are impacted by three to four times their body weight, that's amazing! Proper training and care of the feet is essential.
Even beyond preventing injuries, accurate technique will contribute to preventing early arthritis as well.
Shin splints, a burning stinging pain in the front calf muscles, sprained ankles, bone bruises, and blisters from pointe shoes, are foot injuries that can be prevented by building strength specifically in the sole of the foot.
Weakness in the foot muscles causes the lower leg muscles to over work, leading to chronic tension and loss of muscle tone. This will develop into tendonitis in the Achilles tendon which can become chronic and end a career, at the worst. Chronic tension in any set of muscles in the body will cause mis-alignments, and strain, in the next joint/muscle group, and the next, and so on.
Prevention then, is understanding your foot's construction. Look at photos or drawings, and x-rays of feet. How to use the fact of repetitive motion in ballet (just try to count the number of times you point your foot in a ballet or modern dance class) as strictly a plus, and not a danger to your feet, requires extra study and awareness.
Listening to your body, and paying attention to pain, should be considered part of your training. Aches and sorenesses should go away with warm soaks using epsom salts, ginger or apple cider vinegar, followed by icing. But pain of a sharp, burning or stinging nature must be addressed.
Your foot is brilliantly structured to prevent harmful movement - such as sickling in, and then landing that way, and lo - you have a sprained ankle. However, this can be treated immediately and properly and never cause future discomfort.
Understanding your foot shape and bone structure tells you exactly what your potential is, to increase flexibility, or control hyper-mobility to your best advantage.
For example, if you think you should have more arch to your foot, the shape of your individual bones determine that. You can increase your ankle flexibility to get up onto pointe better, and improve the line of your foot and leg. The shape of your bones will limit the actual arch shape, to some degree.
Famous athletes and dancers actually buy insurance for their body parts. Your insurance is how you take care of your feet.
Soaking or rolling a pinky ball around under your feet, while you study or watch tv, takes up no extra time.
Letting your parents know that you have a persistent pain and that you need to have it checked by a professional is important. A visit with a physiotherapist or chiropractor and an x-ray is not terribly expensive, and the completion of your training may depend on it.
Get a professional guide and learn how to dance in ballet pointe shoes.
A short anatomy lesson on the foot explains why classical ballet technique is finely detailed and exacting, in order to build strength and prevent foot injuries throughout dance training.
Here is some basic anatomical facts about your feet:
*** The support is provided by 28 bones
*** 19 muscles attach to these bones by tendons
*** 30 different joints held together by up to 117 ligaments allow finely detailed movement
*** There are many yards of blood vessels and a complex nerve system
*** Each foot has 125,000 sweat glands
*** Everything is covered by sheets or bands of tough connective tissue called fascia
When you consider that a ballerina or a male ballet dancer spends years training, and then performing, and each time their feet hit the ground they are impacted by three to four times their body weight, that's amazing! Proper training and care of the feet is essential.
Even beyond preventing injuries, accurate technique will contribute to preventing early arthritis as well.
Shin splints, a burning stinging pain in the front calf muscles, sprained ankles, bone bruises, and blisters from pointe shoes, are foot injuries that can be prevented by building strength specifically in the sole of the foot.
Weakness in the foot muscles causes the lower leg muscles to over work, leading to chronic tension and loss of muscle tone. This will develop into tendonitis in the Achilles tendon which can become chronic and end a career, at the worst. Chronic tension in any set of muscles in the body will cause mis-alignments, and strain, in the next joint/muscle group, and the next, and so on.
Prevention then, is understanding your foot's construction. Look at photos or drawings, and x-rays of feet. How to use the fact of repetitive motion in ballet (just try to count the number of times you point your foot in a ballet or modern dance class) as strictly a plus, and not a danger to your feet, requires extra study and awareness.
Listening to your body, and paying attention to pain, should be considered part of your training. Aches and sorenesses should go away with warm soaks using epsom salts, ginger or apple cider vinegar, followed by icing. But pain of a sharp, burning or stinging nature must be addressed.
Your foot is brilliantly structured to prevent harmful movement - such as sickling in, and then landing that way, and lo - you have a sprained ankle. However, this can be treated immediately and properly and never cause future discomfort.
Understanding your foot shape and bone structure tells you exactly what your potential is, to increase flexibility, or control hyper-mobility to your best advantage.
For example, if you think you should have more arch to your foot, the shape of your individual bones determine that. You can increase your ankle flexibility to get up onto pointe better, and improve the line of your foot and leg. The shape of your bones will limit the actual arch shape, to some degree.
Famous athletes and dancers actually buy insurance for their body parts. Your insurance is how you take care of your feet.
Soaking or rolling a pinky ball around under your feet, while you study or watch tv, takes up no extra time.
Letting your parents know that you have a persistent pain and that you need to have it checked by a professional is important. A visit with a physiotherapist or chiropractor and an x-ray is not terribly expensive, and the completion of your training may depend on it.
Get a professional guide and learn how to dance in ballet pointe shoes.
How Can I Improve the Basics of My Ballet Training Without A Professional Ballet School?
How to improve the basics of ballet training can be done with the help of professional technique manuals. A student cannot train in pointe shoes without an experienced teacher. However, there are currently several good sources of basic ballet technique in text, photo and DVD form. The finer details of posture, turnout and placement can be understood and learned. Stretching safely can produce great improvement, whether or not you end up doing the splits.
Internet dance forums and chats can create a wonderful community for students, especially those in smaller towns with fewer dance studios to choose from.
One drawback, however, is the transfer of incorrect technical information that may lead to zero progress, or even injury.
For example, the basics of posture depend on enough flexibility for a dancer to stand with a neutral spine (normal curves and good abdominal support). This requires thigh muscles at the front of the leg, or hip flexors, and thigh muscles at the back of the leg, the hamstrings, that are long and flexible enough to allow the pelvis to retain a natural position. This is simply, neither tilted forward nor back in response to a short or tense muscle of the leg.
While flexibility allowing a ballet dancer to do the splits may seem like the ideal, a strong technique is required to hold the traditional ballet positions and leg extensions in a stable position. Without a strong core and uncluttered ballet exercises to build more strength, both adagio and grand allegro will be clumsy or result in injury.
A clean and accurate ballet technique benefits greatly from a student learning the basics of anatomy in regards to turnout, foot structure, the spine, and large muscle groups. The all too common knee injuries and sprained ankles can be prevented with understanding what is at stake when a dancer forces turnout, for example, or goes onto pointe too soon.
Dance students who are not ideally flexible, long and lean, or highly arched in their foot structure can still be strong. Holding the turnout you have means you can move and jump safely. Having strong extension positions and a strong core can mean you will do a fabulous series of turns in second, arabesque or attitude. Strength is more important than height of leg, for these showy spins.
Understanding the finer details of the basics of classical ballet technique will allow you to build strength faster, without developing over worked muscles that gradually become too tense to maintain good muscle tone. Learning to train your brain to improve your ability to envision your dance moves, and stay in a positive frame of mind will give you an edge. Yet, you must know what is accurate in order to envision it for the best results.
Learning the tips and tricks of safe stretching, and proper muscle care and relaxation will result in a steady progress and optimum results.
Study, in particular, the pre-pointe routines, including proper self-assessment, and well-paced home practice. Whether you are a would-be ballerina or are among the men in ballet, pre-pointe regimens benefit balance, foot strength, and lead to virtuoso professional footwork. Men and boys in pointe shoes is not a freak phenomenon, it's wise study, and more and more dance teachers allow the males to join basic barre work on pointe.
Pointe work should always be supervised. Problems with pointe work usually need to be corrected off pointe first. General technical weaknesses can be improved throughout class work, and then work on pointe will be accurate and can be done without a struggle.
If you would like to improve your ballet dancing beyond your local training, all the information you need is readily available. Give yourself some quiet time to study and learn some self-assessment tests to isolate your weaker areas. The basics of ballet training are well explained and are in your reach, even if you are far away from a professional ballet school.
Internet dance forums and chats can create a wonderful community for students, especially those in smaller towns with fewer dance studios to choose from.
One drawback, however, is the transfer of incorrect technical information that may lead to zero progress, or even injury.
For example, the basics of posture depend on enough flexibility for a dancer to stand with a neutral spine (normal curves and good abdominal support). This requires thigh muscles at the front of the leg, or hip flexors, and thigh muscles at the back of the leg, the hamstrings, that are long and flexible enough to allow the pelvis to retain a natural position. This is simply, neither tilted forward nor back in response to a short or tense muscle of the leg.
While flexibility allowing a ballet dancer to do the splits may seem like the ideal, a strong technique is required to hold the traditional ballet positions and leg extensions in a stable position. Without a strong core and uncluttered ballet exercises to build more strength, both adagio and grand allegro will be clumsy or result in injury.
A clean and accurate ballet technique benefits greatly from a student learning the basics of anatomy in regards to turnout, foot structure, the spine, and large muscle groups. The all too common knee injuries and sprained ankles can be prevented with understanding what is at stake when a dancer forces turnout, for example, or goes onto pointe too soon.
Dance students who are not ideally flexible, long and lean, or highly arched in their foot structure can still be strong. Holding the turnout you have means you can move and jump safely. Having strong extension positions and a strong core can mean you will do a fabulous series of turns in second, arabesque or attitude. Strength is more important than height of leg, for these showy spins.
Understanding the finer details of the basics of classical ballet technique will allow you to build strength faster, without developing over worked muscles that gradually become too tense to maintain good muscle tone. Learning to train your brain to improve your ability to envision your dance moves, and stay in a positive frame of mind will give you an edge. Yet, you must know what is accurate in order to envision it for the best results.
Learning the tips and tricks of safe stretching, and proper muscle care and relaxation will result in a steady progress and optimum results.
Study, in particular, the pre-pointe routines, including proper self-assessment, and well-paced home practice. Whether you are a would-be ballerina or are among the men in ballet, pre-pointe regimens benefit balance, foot strength, and lead to virtuoso professional footwork. Men and boys in pointe shoes is not a freak phenomenon, it's wise study, and more and more dance teachers allow the males to join basic barre work on pointe.
Pointe work should always be supervised. Problems with pointe work usually need to be corrected off pointe first. General technical weaknesses can be improved throughout class work, and then work on pointe will be accurate and can be done without a struggle.
If you would like to improve your ballet dancing beyond your local training, all the information you need is readily available. Give yourself some quiet time to study and learn some self-assessment tests to isolate your weaker areas. The basics of ballet training are well explained and are in your reach, even if you are far away from a professional ballet school.
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".
Ballet Shoes, Ballet Stretches, and Especially The Splits
Get the right information about gentle ballet stretches that lead to high leg extensions and split jetes, a featured attraction of ballet. If you were not born with long ligaments, muscles and tendons, what are the best ballet stretches for you?
While you spend strength on fighting your own tightness, striving for that effortlessness in your ballet shoes and pointe shoes, other very flexible dancers are trying to reign in their movements to maintain form and balance. But, ballet being the way it is, they look better during the struggle than the tighter dancers.
Stretches after exercising are the best. After class, do the following:
Sitting on the floor, stretch the legs out in front to stretch the hamstrings – one at a time, bending one knee, so as not to stretch the lower back, flex and point the foot. After slow stretching, I recommend completely relaxing the legs and letting the torso sink forward, with a few deep breaths, to release tension before going into a second position split.
The second position split should be opened fully but WITHOUT pain. Ideally have your pelvis upright, and your knees facing the ceiling, with the backs of your thighs pressing into the floor. You are mimicking the position your legs/spine would be in, in a standing position. Do not tuck your hip bones under or sway your back and roll forward off your pelvic bone onto your thighs.
In this position you will do a side bend toward one leg, hang there, breathing deeply, holding the legs straight but relaxing neck, shoulders, face and arms. Straighten upright, and bend forward, hold the abdominals, but allow the upper torso to bend forward toward the floor, keeping the legs with the backs of the thighs pressed into the floor. Straighten up again and bend over the other leg, hold for about 30 seconds, and pull up into a straight position. You want a stretch but not any sharp pains. You are applying stress to the soft tissues, but never painful or sudden movements.
The splits. A full 180 degree splits depends on overall extreme flexibility.
If you can't sit in this position but can only get, for example, down to a few inches from the floor (or halfway or three-quarter way down) stretch one leg at a time. Sit down and stretch one leg devant. Let the back leg bend. Keeping the front leg straight and turned out, pull forward slowly, and when you can't go any further, hold your lower abdominals and let your upper torso bend over. Your weight will effect the stretch, breathe deeply a few times, for about 30 seconds, and then come back up to a straight position. Do this four times, and change legs.
Next, bend the front leg into a 90 degree angle so you can lean forward over it, and extend the back leg to a straight position. It will probably slide sideways so that it will not be behind the hip as it would if you were standing up. Slowly move upright, stretching the front of the hip, do NOT go to a point of pain. Stretching is DISCOMFORT, not pain. Lean forward releasing the tension, and turn your leg in. Then straighten up again, and you will feel the stretch in a different area. Do this several times and change legs. Eventually your leg will stretch out more behind you.
Another great stretch is to do a side bend away from the derriere leg – you'll stretch from your thigh through your hip area up the side of your torso.
To finally relax, sit in a splits position with both legs bent. Bend forward right onto your front leg and let the weight of your torso press your hip, inner thigh and groin muscles into a relaxed stretch. Then bend back, but in a relaxed manner. Breathe deeply a few times and change legs.
If you have any muscles or joints stinging and aching after classes, ice. Get a soft gel ice pack, and you can use it 15 minutes per hour. Make sure the ice pack is wrapped in a thin towel and does not touch your skin.
Another therapy is a hot bath with a cup of apple cider vinegar. This draws the lactic acid out of the muscles and is extremely relaxing. Epsom Salts are good too, I think vinegar is better. You won't smell afterwards, honest.
If you are a retired dancer, or are on a hiatus from classes and miss that wonderful stretched out feeling, I highly recommend a ballet dancers's guide for getting more flexible.
While you spend strength on fighting your own tightness, striving for that effortlessness in your ballet shoes and pointe shoes, other very flexible dancers are trying to reign in their movements to maintain form and balance. But, ballet being the way it is, they look better during the struggle than the tighter dancers.
Stretches after exercising are the best. After class, do the following:
Sitting on the floor, stretch the legs out in front to stretch the hamstrings – one at a time, bending one knee, so as not to stretch the lower back, flex and point the foot. After slow stretching, I recommend completely relaxing the legs and letting the torso sink forward, with a few deep breaths, to release tension before going into a second position split.
The second position split should be opened fully but WITHOUT pain. Ideally have your pelvis upright, and your knees facing the ceiling, with the backs of your thighs pressing into the floor. You are mimicking the position your legs/spine would be in, in a standing position. Do not tuck your hip bones under or sway your back and roll forward off your pelvic bone onto your thighs.
In this position you will do a side bend toward one leg, hang there, breathing deeply, holding the legs straight but relaxing neck, shoulders, face and arms. Straighten upright, and bend forward, hold the abdominals, but allow the upper torso to bend forward toward the floor, keeping the legs with the backs of the thighs pressed into the floor. Straighten up again and bend over the other leg, hold for about 30 seconds, and pull up into a straight position. You want a stretch but not any sharp pains. You are applying stress to the soft tissues, but never painful or sudden movements.
The splits. A full 180 degree splits depends on overall extreme flexibility.
If you can't sit in this position but can only get, for example, down to a few inches from the floor (or halfway or three-quarter way down) stretch one leg at a time. Sit down and stretch one leg devant. Let the back leg bend. Keeping the front leg straight and turned out, pull forward slowly, and when you can't go any further, hold your lower abdominals and let your upper torso bend over. Your weight will effect the stretch, breathe deeply a few times, for about 30 seconds, and then come back up to a straight position. Do this four times, and change legs.
Next, bend the front leg into a 90 degree angle so you can lean forward over it, and extend the back leg to a straight position. It will probably slide sideways so that it will not be behind the hip as it would if you were standing up. Slowly move upright, stretching the front of the hip, do NOT go to a point of pain. Stretching is DISCOMFORT, not pain. Lean forward releasing the tension, and turn your leg in. Then straighten up again, and you will feel the stretch in a different area. Do this several times and change legs. Eventually your leg will stretch out more behind you.
Another great stretch is to do a side bend away from the derriere leg – you'll stretch from your thigh through your hip area up the side of your torso.
To finally relax, sit in a splits position with both legs bent. Bend forward right onto your front leg and let the weight of your torso press your hip, inner thigh and groin muscles into a relaxed stretch. Then bend back, but in a relaxed manner. Breathe deeply a few times and change legs.
If you have any muscles or joints stinging and aching after classes, ice. Get a soft gel ice pack, and you can use it 15 minutes per hour. Make sure the ice pack is wrapped in a thin towel and does not touch your skin.
Another therapy is a hot bath with a cup of apple cider vinegar. This draws the lactic acid out of the muscles and is extremely relaxing. Epsom Salts are good too, I think vinegar is better. You won't smell afterwards, honest.
If you are a retired dancer, or are on a hiatus from classes and miss that wonderful stretched out feeling, I highly recommend a ballet dancers's guide for getting more flexible.
To Dance or Not to Dance In Ballet Shoes and Pointe Shoes
I get asked a lot, "do you think I should pursue ballet professionally?" And my immediate thought is, "If you can live without dance, do so, if you cannot, then dance."
I say that because ballet is a subculture. That is not a bad thing, but like opera, music, and other art forms, training is intense and competition is fierce. That may be the attraction for some. Ballet attracts perfectionists, obsessed and oddly dysfunctional people, but also attracts incredibly gifted performers and brilliant broad-spectrum artists who excel at dance and related arts such as choreography, music and stage design.
Professional ballet has a small job market. Ideally you would start training at the age of 9, and be ready to perform in a company by 18. You would have been in about 8-10 classes per week, with some modern dance training as well.
Starting later, along with physical limitations, is the challenge for the majority. And yet, when I taught at university, I saw students go on to become leaders in the dance world. Although, not in ballet, but in the modern dance arena, which emphasizes creativity somewhat more than the perfect technique and physique. I think the maturity of training at that age helps too, and I have seen a greater number of survivors from that venue.
Talented children with highly sensitive nervous systems have more problems with the competition. If they are studying away from home, they lack their family support. This can be very stressful for children. However, the demands of the training and the joy of learning what they love sometimes balances the stress beautifully.
To be extremely positive, let's just say all roads lead to our success. I have seen "failed" dancers develop into excellent musicians, brilliant actors, and choreographers with exceptional vision. I once had a student who backed out of a performance in his first semester of training, due to sheer stagefright. He became a well-known innovator in the Canadian dance scene. The first time I saw a short piece of choreography of his in a small workshop setting, I knew where he was headed.
A world-famous prima ballerina was let go from a major dance school because of an eating disorder. She was immediately picked up and hand-held by a competing school. She just needed more personal support.
A well-known Canadian musician/conductor was once a struggling ballet student. He played piano at the school in order to pay for his classes. He wasn't a bad dancer, but started his professional training late. The school's top pianist spotted his talent and supported his development as an accompanist. We were roommates for a while. Our third roommate was a flautist. Ahhh... well, anyway... good musical memories. I remember my heart soaring as Steve played the fourth act from Swan Lake from the Russian leather-bound score his mentor Babs MacDonald had given him, on a piano in our tiny apartment. He was born to dance in his soul, and became an excellent musician and conductor.
So if you are led to dance, dance! You never know where it will take you.
To dance is never a mistake.
You can find many inspirational ballet stories at The Ballet Store. I'm so glad ballerinas and men in ballet like to write!
I say that because ballet is a subculture. That is not a bad thing, but like opera, music, and other art forms, training is intense and competition is fierce. That may be the attraction for some. Ballet attracts perfectionists, obsessed and oddly dysfunctional people, but also attracts incredibly gifted performers and brilliant broad-spectrum artists who excel at dance and related arts such as choreography, music and stage design.
Professional ballet has a small job market. Ideally you would start training at the age of 9, and be ready to perform in a company by 18. You would have been in about 8-10 classes per week, with some modern dance training as well.
Starting later, along with physical limitations, is the challenge for the majority. And yet, when I taught at university, I saw students go on to become leaders in the dance world. Although, not in ballet, but in the modern dance arena, which emphasizes creativity somewhat more than the perfect technique and physique. I think the maturity of training at that age helps too, and I have seen a greater number of survivors from that venue.
Talented children with highly sensitive nervous systems have more problems with the competition. If they are studying away from home, they lack their family support. This can be very stressful for children. However, the demands of the training and the joy of learning what they love sometimes balances the stress beautifully.
To be extremely positive, let's just say all roads lead to our success. I have seen "failed" dancers develop into excellent musicians, brilliant actors, and choreographers with exceptional vision. I once had a student who backed out of a performance in his first semester of training, due to sheer stagefright. He became a well-known innovator in the Canadian dance scene. The first time I saw a short piece of choreography of his in a small workshop setting, I knew where he was headed.
A world-famous prima ballerina was let go from a major dance school because of an eating disorder. She was immediately picked up and hand-held by a competing school. She just needed more personal support.
A well-known Canadian musician/conductor was once a struggling ballet student. He played piano at the school in order to pay for his classes. He wasn't a bad dancer, but started his professional training late. The school's top pianist spotted his talent and supported his development as an accompanist. We were roommates for a while. Our third roommate was a flautist. Ahhh... well, anyway... good musical memories. I remember my heart soaring as Steve played the fourth act from Swan Lake from the Russian leather-bound score his mentor Babs MacDonald had given him, on a piano in our tiny apartment. He was born to dance in his soul, and became an excellent musician and conductor.
So if you are led to dance, dance! You never know where it will take you.
To dance is never a mistake.
You can find many inspirational ballet stories at The Ballet Store. I'm so glad ballerinas and men in ballet like to write!
Ballet Shoes and Pointe Shoes - Increase Ballet Turnout
To increase your ballet turnout, first try a truer test for turnout than the butterfly or frog position, where your hips are flexed and turnout will look like more than it really is.
Lie on your stomach with your legs straight. Here your hips are in an extended position. Bend one leg to a 90 degree angle. (If your hip comes of the floor, then you need to stretch out your quadriceps and iliopsoas muscles, as in doing a runner's lunge.) You could have someone gently hold your hip down on the floor if you like. Then allow your bent leg to angle down toward the straight knee. Where the leg stops, this is the correct degree of your turnout.
Doing the frog position on your back or stomach is not good for your knees even if you are flexible.
Now more importantly, how to hold the turnout that you do have....if you watch dance movies carefully you will see that the most brilliantly artistic dancers in the world are not necessarily born with a lot of turnout - and it doesn't matter! They are still brilliant.
Your lateral rotator muscles are your prime turnout muscles, specifically: Piriformis;Obturator Internus;Obturator Externus;Quadratus Femoris; Gemellus Superior; Gemellus Inferior. These muscles lie underneath your gluts. When they contract your thigh rotates. If your leg is behind you, the gluts and hamstring muscles also help to hold the rotation.
The balance and tone of any muscle comes from its ability to work, and its ability to relax when not working. So having lateral rotators that clench to rotate, and don't relax in between exercises, do not have the strength they could have. Turning in during class, in between exercises, is a good habit to have.
For example, when you tendu devant, if your hips remain in placement and your thigh is moving freely on its own, you should be able to rotate to your full natural turnout, even if you cannot always hold it. You may have to practice this with your gluts released, to isolate the rotator muscles. Gluts don't increase your turnout.
If you sit on the floor, legs straight out in front of you, relax your gluts on the floor. Then just engage your rotator muscles and turn your thighs out without your gluts working. This will help you isolate the rotators. If you can raise the legs, one by one, an inch or two off the floor, and hold this turnout, you'll feel the rotators holding against the flexion action. If your hip comes up too, then you are not isolating the leg from the hip completely.
Standing in first position, you want to open the legs by contracting the rotator muscles, but not clenching the gluts at this point. It's good to be able to tighten and hold the gluts when you need to, but not at this moment. Whatever position you end up in, that is your turnout. Same for fifth, with the extra challenge of having one leg slightly behind your pelvis and the other in front. This requires more strength.
While many teachers would not allow this, I would encourage them to have many students working in third position for much longer than they usually feel is "normal". It's not that far to fifth position once the muscles are strengthened. Advanced students and professionals do different things to compensate for not having that perfect fifth position. If they have good teachers, they learn to do this minimally and without injury. But they are doing it very deliberately.
Some people's thighs are in a different position in their hip sockets, that allows more turnout. This is the way they are born. So don't look at anyone else and compare. Also some people have tibial torsion, which means their leg from the knee down is rotated outward. It can lead to other problems, but will give their feet a turned out look, while their knees and thighs may not be able to achieve the same turnout.
Another exercise to strengthen the turnout is as follows: lie down on the floor on your back, feet in first position, flexed as though you were standing. Pressing the back of the legs into the floor can help you feel the rotators. Move the legs, feet still flexed, about half an inch outward toward second position. Keep pressing the back of the legs into the floor, and don't let your back arch. You may only be able to go an inch , - but you'll feel those turnout muscles! Do that ten times every day and you will be much stronger standing up and doing the regular class movements. You won't regret investing time in this exercise. Be sure to relax the rotators afterwards.
Recently I enjoyed a movie of William Forsythe's company. He says in the initial interview "Well, ballet is not anatomically correct".
What an understatement! Yet still, you can increase ballet turnout.
Lie on your stomach with your legs straight. Here your hips are in an extended position. Bend one leg to a 90 degree angle. (If your hip comes of the floor, then you need to stretch out your quadriceps and iliopsoas muscles, as in doing a runner's lunge.) You could have someone gently hold your hip down on the floor if you like. Then allow your bent leg to angle down toward the straight knee. Where the leg stops, this is the correct degree of your turnout.
Doing the frog position on your back or stomach is not good for your knees even if you are flexible.
Now more importantly, how to hold the turnout that you do have....if you watch dance movies carefully you will see that the most brilliantly artistic dancers in the world are not necessarily born with a lot of turnout - and it doesn't matter! They are still brilliant.
Your lateral rotator muscles are your prime turnout muscles, specifically: Piriformis;Obturator Internus;Obturator Externus;Quadratus Femoris; Gemellus Superior; Gemellus Inferior. These muscles lie underneath your gluts. When they contract your thigh rotates. If your leg is behind you, the gluts and hamstring muscles also help to hold the rotation.
The balance and tone of any muscle comes from its ability to work, and its ability to relax when not working. So having lateral rotators that clench to rotate, and don't relax in between exercises, do not have the strength they could have. Turning in during class, in between exercises, is a good habit to have.
For example, when you tendu devant, if your hips remain in placement and your thigh is moving freely on its own, you should be able to rotate to your full natural turnout, even if you cannot always hold it. You may have to practice this with your gluts released, to isolate the rotator muscles. Gluts don't increase your turnout.
If you sit on the floor, legs straight out in front of you, relax your gluts on the floor. Then just engage your rotator muscles and turn your thighs out without your gluts working. This will help you isolate the rotators. If you can raise the legs, one by one, an inch or two off the floor, and hold this turnout, you'll feel the rotators holding against the flexion action. If your hip comes up too, then you are not isolating the leg from the hip completely.
Standing in first position, you want to open the legs by contracting the rotator muscles, but not clenching the gluts at this point. It's good to be able to tighten and hold the gluts when you need to, but not at this moment. Whatever position you end up in, that is your turnout. Same for fifth, with the extra challenge of having one leg slightly behind your pelvis and the other in front. This requires more strength.
While many teachers would not allow this, I would encourage them to have many students working in third position for much longer than they usually feel is "normal". It's not that far to fifth position once the muscles are strengthened. Advanced students and professionals do different things to compensate for not having that perfect fifth position. If they have good teachers, they learn to do this minimally and without injury. But they are doing it very deliberately.
Some people's thighs are in a different position in their hip sockets, that allows more turnout. This is the way they are born. So don't look at anyone else and compare. Also some people have tibial torsion, which means their leg from the knee down is rotated outward. It can lead to other problems, but will give their feet a turned out look, while their knees and thighs may not be able to achieve the same turnout.
Another exercise to strengthen the turnout is as follows: lie down on the floor on your back, feet in first position, flexed as though you were standing. Pressing the back of the legs into the floor can help you feel the rotators. Move the legs, feet still flexed, about half an inch outward toward second position. Keep pressing the back of the legs into the floor, and don't let your back arch. You may only be able to go an inch , - but you'll feel those turnout muscles! Do that ten times every day and you will be much stronger standing up and doing the regular class movements. You won't regret investing time in this exercise. Be sure to relax the rotators afterwards.
Recently I enjoyed a movie of William Forsythe's company. He says in the initial interview "Well, ballet is not anatomically correct".
What an understatement! Yet still, you can increase ballet turnout.
Ballet Shoes and Pointe Shoes - and Between Class Shoes
You can click on this link to find out how to care for your feet in ballet shoes and pointe shoes.
What should a ballet dancer wear for daily foot support? Today there are attractive athletic shoes in all shapes widths, and colors. The expensive built-up sole types are not necessarily the best. The kind with the springs in the heel look like they would feel great if you are walking on cement all day, or on the hard stone halls of a high school. But they may not be the best for developing feet and legs. I have seen that even very young dancers think like career builders and will pay attention to professional issues like daily footwear.
Joyce Morgenroth says in her article from Arts & Sciences Newsletter Fall 1997 Vol. 18 No. 2
"In pointe shoes the vulgar, useful foot is gone. In its place is the illusion of an elongated leg and only a most tenuous connection to the ground."
The entire article has a lot of historical detail, is a great read, and is found here.
So how do we take care of our "vulgar, useful foot"? When I was a ballet student at The National Ballet School of Canada, we wore "vulgar and useful" shoes, by uniform mandate - oxfords! Ugh! Although I have to admit, when I tied mine on after a ballet class, my feet, ankles and calves really were supported and relaxed. Special foot muscle exercises for your best work in ballet shoes and pointe shoes support the health and development of the dancer's foot.
So back to modern athletic shoes, I read some passages from "Slow Burn" by Stu Mittleman. (I had ordered "Slow Burn" intending to get the book by Frederick Hahn and Eades & Eades. I received the Stu Mittleman book "by mistake" and then ordered the other one too.) They are both fantastic books. No mistakes.
Page 77, the chapter "Always Buy a Shoe Fit, Not a Shoe Size", is a long chapter with interesting stories and great information. Stu is a runner and the frame of his info is for runners. However, a dance student or professional dancer can glean some good advice from him. On page 84 he says :
"The most important considerations to make when it comes to the structure and function of your foot have to do with the following:
arch type
tilt pattern
foot strike"
Stu's details in shoe selection that follow that passage resemble the minutiae that dancers attend to in fitting ballet shoes and pointe shoes ("professional ballet shoes"). I suggest that dance students get the book from their local library and review this section, in consideration of the selection of the shoes they wear daily. Party shoes aside, I think you want to support the feet that are supporting you. All day.
Muscles relaxation is very important. In ballet classes, it is crucial to relax between exercises. In life, it is crucial to relax between classes. You can most likely find the best shoe for your arch type, tilt pattern, and foot strike .
Stu discusses the available athletic shoes for the tilt pattern. In ballet we say 'rolling ankles' 'dropped arches' or 'flat foot'. Simply meaning the inner ankles roll toward the floor, pronation, and the opposite, the outer ankles roll toward the floor, supination. Differently shaped sneakers will give needed support.
(The foot strike is less important for dancers, but very important for runners. )
Stu also discusses muscle testing. Chiropractors, kiniesiologists, naturopaths, acupuncturists, some nutritionists, many can muscle test. This includes for proper shoe support. If you have a practitioner that might do this for you, buy your shoes, and take them to your health care person, get the shoes muscle tested. If they are not supportive you can return them.
Be a pro right now and find out how to care for your feet in ballet shoes and pointe shoes.
What should a ballet dancer wear for daily foot support? Today there are attractive athletic shoes in all shapes widths, and colors. The expensive built-up sole types are not necessarily the best. The kind with the springs in the heel look like they would feel great if you are walking on cement all day, or on the hard stone halls of a high school. But they may not be the best for developing feet and legs. I have seen that even very young dancers think like career builders and will pay attention to professional issues like daily footwear.
Joyce Morgenroth says in her article from Arts & Sciences Newsletter Fall 1997 Vol. 18 No. 2
"In pointe shoes the vulgar, useful foot is gone. In its place is the illusion of an elongated leg and only a most tenuous connection to the ground."
The entire article has a lot of historical detail, is a great read, and is found here.
So how do we take care of our "vulgar, useful foot"? When I was a ballet student at The National Ballet School of Canada, we wore "vulgar and useful" shoes, by uniform mandate - oxfords! Ugh! Although I have to admit, when I tied mine on after a ballet class, my feet, ankles and calves really were supported and relaxed. Special foot muscle exercises for your best work in ballet shoes and pointe shoes support the health and development of the dancer's foot.
So back to modern athletic shoes, I read some passages from "Slow Burn" by Stu Mittleman. (I had ordered "Slow Burn" intending to get the book by Frederick Hahn and Eades & Eades. I received the Stu Mittleman book "by mistake" and then ordered the other one too.) They are both fantastic books. No mistakes.
Page 77, the chapter "Always Buy a Shoe Fit, Not a Shoe Size", is a long chapter with interesting stories and great information. Stu is a runner and the frame of his info is for runners. However, a dance student or professional dancer can glean some good advice from him. On page 84 he says :
"The most important considerations to make when it comes to the structure and function of your foot have to do with the following:
arch type
tilt pattern
foot strike"
Stu's details in shoe selection that follow that passage resemble the minutiae that dancers attend to in fitting ballet shoes and pointe shoes ("professional ballet shoes"). I suggest that dance students get the book from their local library and review this section, in consideration of the selection of the shoes they wear daily. Party shoes aside, I think you want to support the feet that are supporting you. All day.
Muscles relaxation is very important. In ballet classes, it is crucial to relax between exercises. In life, it is crucial to relax between classes. You can most likely find the best shoe for your arch type, tilt pattern, and foot strike .
Stu discusses the available athletic shoes for the tilt pattern. In ballet we say 'rolling ankles' 'dropped arches' or 'flat foot'. Simply meaning the inner ankles roll toward the floor, pronation, and the opposite, the outer ankles roll toward the floor, supination. Differently shaped sneakers will give needed support.
(The foot strike is less important for dancers, but very important for runners. )
Stu also discusses muscle testing. Chiropractors, kiniesiologists, naturopaths, acupuncturists, some nutritionists, many can muscle test. This includes for proper shoe support. If you have a practitioner that might do this for you, buy your shoes, and take them to your health care person, get the shoes muscle tested. If they are not supportive you can return them.
Be a pro right now and find out how to care for your feet in ballet shoes and pointe shoes.
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