Ah... the final realization of all that work in ballet shoes and pointe shoes, or your other dance styles. The ballet recital, lights, costumes, the audience. Healthy eating habits matter even more during the stressful time of the final ballet rehearsals. An athlete's food choice is critical for your long classical ballet rehearsal hours. And aching limbs can bring on sleeping problems without the intake of proper nutrients.
The gruelling repetition of staging, lighting and full out classical ballet rehearsals can be enjoyed more if you are well fed and well hydrated. For one thing, those sneaky self-doubts about your readiness to perform, your shape, your hair, etc., etc., will have lot less power if you keep up your energy in a healthy way.
For example, and believe it or not, celery sticks with peanut butter is a way better snack than the average power bar, full of useless carbs, processed protein and a few lab-made vitamins. Celery is one of the best salty foods we have. When I say salt, I mean all those mineral salts that you lose in perspiration. If your peanut butter is real (no added high fructose corn syrup, and hydrogenated oils) it is full of vitamins, minerals, protein, and a healthy fat. That fat will give you energy to handle the stress and demands on your muscles.
A light and energizing lunch could be a can of wild caught salmon with a little real, but unsweetened mayonnaise, and dark leafy greens. The omega 3 oil in the salmon is food for your soft tissues and joints. It also is great brain support. The dark green leafy salads or vegetables are full of calcium, vitamin A and trace minerals that support your metabolism and all of the extra nervous activity that the excitement and demands of the situation brings forth.
Hydrating means sipping water all day long. Popular sports drinks are extremely acidic. They do not hydrate you like water does.
Using sea salt instead of table salt keeps up your electrolytes. There are 12 mineral salts to replace - not just the one or two included in sports drinks. Lack of minerals can lead to muscle cramps that keep you awake. Also good salt is necessary to prevent water retention.
Lack of good fats increases pain in strained and fatigued muscles.
Eating breakfast is vital. Eggs with the yolks soft provides essential fatty acids. This is not the place to count calories and get rid of that egg yolk.....if you cook the yolks hard you will damage the enzymes needed to digest them. Protein is also provided by this wonderful food. A flourless sprouted grain bread will give you some B Complex vitamins without bringing on the swollen stomach caused by wheat flour.
Sugar weakens muscles. Instead of carbs and sweets, eat fruit. Fruits contain vitamins and minerals and natural sugars.
One thing from your fridge that you can't eat but can use, is a soft ice pack. When you get home from a stressful time at the theater, eat your good athlete's food, and bring out the ice pack to wrap around sore muscles and joints.
Find out how to get the right pointe shoe sizing and how to prevent dance injuries.
Showing posts with label classical ballet. Show all posts
Showing posts with label classical ballet. Show all posts
Professional Footwork, Muscle Memory For Ballet, and Neural Pathways
Improve your ballet dancing and pointe work, and even your tennis footwork. Tennis players learn ballet to refine their professional footwork, too. By understanding the part of the foot in finely reflexive movement, you will prevent muscle exhaustion in the lower leg. Muscle memory will be precise, and your neural pathways will be well built for all that ballet traffic.
The finer details for strong pointe work starts in your first ballet classes, years before most students progress to dancing in pointe shoes. If you are an adult late starter in ballet, this information will help you get ahead. Here are some items to review that pertain to you building strength:
1. The foot bearing the body weight, on flat and in demi plie, in a tripod balance of between the ball of the foot, the point between the little toe and fourth toe, and the heel;
2. The intrinsic muscles of the foot being strengthened so as not to exhaust the calf and tibial (shin) muscles. This allows the foot muscles to be capable of, for example, pressing up to full pointe, pressing back down to demi pointe and back up to full pointe for at least 8 repetitions before getting exhausted. And in turn, this creates a controlled and soft descent from pointe into demi plie or flat.
3. Keeping the toes long in soft shoes and pointe shoes, not buckled;
4. Always having the ankles in a straight line, never sickling out the supporting feet for the curved line dancers like in a working foot;in other words always being on the center of the foot in demi pointe, and fully on the platforms of the pointe shoes;
5. Getting exactly the right fit and type of pointe shoes so the feet are not fighting the shoes: this includes toe levelers or spacers if needed. Avoid dancing in pain!
I have to mention that the correct postural plumb line and turnout must be maintained, or the foot and ankle muscles will be exhausted and over compensating, fighting for balance. So dancing ballet in pointe shoes is a full body workout!
Consider a healthy diet to support your training. Healthy fats and oils must not be avoided. Omega 6/omega 3 balance is vital. These oils naturally help strengthen cell membrane integrity, repair cellular and tissue damage, help optimize neurological transmission and brain function, help improve heart and circulatory function, and ( a wonderful bonus anyone would want) help produce supple, moist skin. These oils also help in lubricating joints, and are anti-inflammatory - the exerciser's dream food.
Developing correct muscle memory and neural pathways is like building the best software program for your computer. Safe and agile movements become automated. This means you are much less likely to injure yourself if you are dancing on a day when you are tired or distracted.
Whether learning classical ballet or tennis, you can excel in professional footwork by understanding your brain and your feet. You can learn how to improve any aspect of your training.
If you would like to learn more about healthy oils read here.
The finer details for strong pointe work starts in your first ballet classes, years before most students progress to dancing in pointe shoes. If you are an adult late starter in ballet, this information will help you get ahead. Here are some items to review that pertain to you building strength:
1. The foot bearing the body weight, on flat and in demi plie, in a tripod balance of between the ball of the foot, the point between the little toe and fourth toe, and the heel;
2. The intrinsic muscles of the foot being strengthened so as not to exhaust the calf and tibial (shin) muscles. This allows the foot muscles to be capable of, for example, pressing up to full pointe, pressing back down to demi pointe and back up to full pointe for at least 8 repetitions before getting exhausted. And in turn, this creates a controlled and soft descent from pointe into demi plie or flat.
3. Keeping the toes long in soft shoes and pointe shoes, not buckled;
4. Always having the ankles in a straight line, never sickling out the supporting feet for the curved line dancers like in a working foot;in other words always being on the center of the foot in demi pointe, and fully on the platforms of the pointe shoes;
5. Getting exactly the right fit and type of pointe shoes so the feet are not fighting the shoes: this includes toe levelers or spacers if needed. Avoid dancing in pain!
I have to mention that the correct postural plumb line and turnout must be maintained, or the foot and ankle muscles will be exhausted and over compensating, fighting for balance. So dancing ballet in pointe shoes is a full body workout!
Consider a healthy diet to support your training. Healthy fats and oils must not be avoided. Omega 6/omega 3 balance is vital. These oils naturally help strengthen cell membrane integrity, repair cellular and tissue damage, help optimize neurological transmission and brain function, help improve heart and circulatory function, and ( a wonderful bonus anyone would want) help produce supple, moist skin. These oils also help in lubricating joints, and are anti-inflammatory - the exerciser's dream food.
Developing correct muscle memory and neural pathways is like building the best software program for your computer. Safe and agile movements become automated. This means you are much less likely to injure yourself if you are dancing on a day when you are tired or distracted.
Whether learning classical ballet or tennis, you can excel in professional footwork by understanding your brain and your feet. You can learn how to improve any aspect of your training.
If you would like to learn more about healthy oils read here.
How To Improve The Basics Of Pirouettes For Pointe Shoe Exercises
The basics of classical ballet technique need to be thoroughly understood to build strength for pirouettes, and later for ballet classes in pointe shoes. Knowing the finer details of your daily routines gives you an extra advantage to the use of your core muscles in stabilizing your ballet positions and movements.
First a quick review of some basics that will help you make progress toward pointe work, good pirouettes and doing well dancing the kind of roles in ballet recitals you would like:
1. Is your postural plumb line correct in your fifth position standing with straight legs?
2. Do you maintain your postural plumb line and turn out when you demi plie in fifth or fourth position?
3. Do you have a relaxed neck for good spotting?
4. Do you maintain the placement of your hips in your retire position?
5. Can you releve straight up and balance there?
6. Can you keep the foot muscles engaged when you descend back to your landing position so that you land softly into a controlled demi plie?
If any of the above are non-existent or weak, pick the most basic and do a practice routine to correct it. Ask your teacher or a class buddy to help you until it is 100% correct.
If you tip to either side when you releve, check to see if your core muscles are not holding, or if loss of turnout on one side tips you. Also check to see if your arms are closing too forcefully and knocking you off balance.
Doing a series of quarter, half, then whole turns (once you've corrected the basics) without any arms at all gives you the right feeling for more effortless pirouettes. Put your hands on your shoulders or hips and just turn from the force of pushing up out of the demi plie and the working leg turning out as you place it into retire and begin the turn. You'll get around.
For pirouettes en dedans, you've got the force of the working leg pushing off and coming up to retire and the supporting leg turning out as you start the turn, to get around at least once with no arms needed.
The other issue is hopping towards the end of a turn, or throughout. If this happens, try getting a feeling of pushing down through the supporting leg into the floor as you pull up your core muscles and leg muscles. Connect with the floor, even get an idea of drilling down into the floor - use the image to keep you grounded. And check all your basics to see what you are compensating for.
This should help you in how to improve the basics of classical ballet technique for pirouettes. Enjoy! They're fun.
Go here for info on how to prepare for pointe and improve your pirouettes!
First a quick review of some basics that will help you make progress toward pointe work, good pirouettes and doing well dancing the kind of roles in ballet recitals you would like:
1. Is your postural plumb line correct in your fifth position standing with straight legs?
2. Do you maintain your postural plumb line and turn out when you demi plie in fifth or fourth position?
3. Do you have a relaxed neck for good spotting?
4. Do you maintain the placement of your hips in your retire position?
5. Can you releve straight up and balance there?
6. Can you keep the foot muscles engaged when you descend back to your landing position so that you land softly into a controlled demi plie?
If any of the above are non-existent or weak, pick the most basic and do a practice routine to correct it. Ask your teacher or a class buddy to help you until it is 100% correct.
If you tip to either side when you releve, check to see if your core muscles are not holding, or if loss of turnout on one side tips you. Also check to see if your arms are closing too forcefully and knocking you off balance.
Doing a series of quarter, half, then whole turns (once you've corrected the basics) without any arms at all gives you the right feeling for more effortless pirouettes. Put your hands on your shoulders or hips and just turn from the force of pushing up out of the demi plie and the working leg turning out as you place it into retire and begin the turn. You'll get around.
For pirouettes en dedans, you've got the force of the working leg pushing off and coming up to retire and the supporting leg turning out as you start the turn, to get around at least once with no arms needed.
The other issue is hopping towards the end of a turn, or throughout. If this happens, try getting a feeling of pushing down through the supporting leg into the floor as you pull up your core muscles and leg muscles. Connect with the floor, even get an idea of drilling down into the floor - use the image to keep you grounded. And check all your basics to see what you are compensating for.
This should help you in how to improve the basics of classical ballet technique for pirouettes. Enjoy! They're fun.
Go here for info on how to prepare for pointe and improve your pirouettes!
Men In Ballet - How To Get The Most Out Of Your Foot's Demi Pointe - And Then Your Pointe Shoes
I am going to cover a few of the finer details in strengthening, stretching, and maintaining your foot mechanics, and health. You want to get the most out of the joints and muscles that you have in your foot for your demi pointe. If you are among the men in ballet, you may choose to try some work in pointe shoes.
I'm not referring to demi-pointe shoes in the title above, but your own demi pointe, your foot.
Whether male or female, I recommend that you view some drawing or x-ray of an ankle joint, and the foot bones. It is good to know what is under your skin.
If your ankle joint is flexible enough for you to point a straight line, or more, you can probably get up onto demi pointe so that your toes are a ninety degree angle to your instep.
If you do not have this ninety degree angle, first you can work on the big toe joint. There is a muscle going under the big toe that can be gently massaged and stretched. Just working this joint can get you a gain on the angle you need to be fully on demi pointe, and therefore able to complete the postural plumb line of the body. That means getting the metatarsal joints under your ankle joint, regardless of how the arch in between shows up curve-wise.
To maximize the ankle joint flexibility, consider the tension that builds up in the tibial, or shin muscles, practicing ballet, that could detract from your ankle joint flexibility. This tension can be released, daily, with the help of a soft rubber ball. Kneel, then sit back on your feet, making sure there is no inward sickle. Roll the rubber ball just below the knee joint, into the top of the shin muscle. Lean on it, easing down the leg. Press into the tender spots until you feel some tension release. Don't lean too heavily on it, it is just to get a release of the tension.
Get all the way down to the ankle joint. You have now resolved some of the work-related tension and can do a stretch for the top of the ankle/foot area. Place the ball under the foot above the metatarsal joints (and you can do more than one spot here), between the big toe and second toe, and you'll feel a wonderful stretch. You can move the ball a little more in between the second and third metatarsal area, only if it does not cause the foot to sickle. And stretch again, gently holding the stretch for 10 seconds at first. You can increase the hold time, but not to the point of pain.
Then start on the other leg. I have Deborah Vogel to thank for that rubber ball use and foot stretch.
Using a rubber ball or a golf ball on the sole of the foot releases tension in those muscles. Roll it and push gently. You don't want to exert too much pressure on the foot joints, just feel for tension release. Do this daily, or after every class.
Soaking your feet in warm water and Epsom Salts or mineral salt (sea salt) and then icing tired and aching foot muscles is a treatment your feet deserve.
Especially if you plan to dance classical ballet in pointe shoes, attend to these few daily routines. They are not pampering, but needed care for all women and men in ballet.
Click here for a resource on ballet wear, pointe shoes, ballet technique articles and The Perfect Pointe Book.
I'm not referring to demi-pointe shoes in the title above, but your own demi pointe, your foot.
Whether male or female, I recommend that you view some drawing or x-ray of an ankle joint, and the foot bones. It is good to know what is under your skin.
If your ankle joint is flexible enough for you to point a straight line, or more, you can probably get up onto demi pointe so that your toes are a ninety degree angle to your instep.
If you do not have this ninety degree angle, first you can work on the big toe joint. There is a muscle going under the big toe that can be gently massaged and stretched. Just working this joint can get you a gain on the angle you need to be fully on demi pointe, and therefore able to complete the postural plumb line of the body. That means getting the metatarsal joints under your ankle joint, regardless of how the arch in between shows up curve-wise.
To maximize the ankle joint flexibility, consider the tension that builds up in the tibial, or shin muscles, practicing ballet, that could detract from your ankle joint flexibility. This tension can be released, daily, with the help of a soft rubber ball. Kneel, then sit back on your feet, making sure there is no inward sickle. Roll the rubber ball just below the knee joint, into the top of the shin muscle. Lean on it, easing down the leg. Press into the tender spots until you feel some tension release. Don't lean too heavily on it, it is just to get a release of the tension.
Get all the way down to the ankle joint. You have now resolved some of the work-related tension and can do a stretch for the top of the ankle/foot area. Place the ball under the foot above the metatarsal joints (and you can do more than one spot here), between the big toe and second toe, and you'll feel a wonderful stretch. You can move the ball a little more in between the second and third metatarsal area, only if it does not cause the foot to sickle. And stretch again, gently holding the stretch for 10 seconds at first. You can increase the hold time, but not to the point of pain.
Then start on the other leg. I have Deborah Vogel to thank for that rubber ball use and foot stretch.
Using a rubber ball or a golf ball on the sole of the foot releases tension in those muscles. Roll it and push gently. You don't want to exert too much pressure on the foot joints, just feel for tension release. Do this daily, or after every class.
Soaking your feet in warm water and Epsom Salts or mineral salt (sea salt) and then icing tired and aching foot muscles is a treatment your feet deserve.
Especially if you plan to dance classical ballet in pointe shoes, attend to these few daily routines. They are not pampering, but needed care for all women and men in ballet.
Click here for a resource on ballet wear, pointe shoes, ballet technique articles and The Perfect Pointe Book.
Technique For Pointe Work - Including For Men In Ballet
There are several famous male ballet dancers who have practiced classical ballet in pointe shoes. Some required it in their roles - for example, for the donkey Bottom in A Midsummers Night's Dream. Some choreographers have put on pointe shoes in order to empathize with their ballerinas. And many men in ballet want to take advantage of the opportunity to stretch their ankles and build strength.
I know many dance teachers would love to see some boys/men in ballet take pointe classes. Men in ballet actually can get exactly the right fit in pointe shoes, or let's say most can.
Why would men want to put on pointe shoes and do those cruel-looking exercises?
Some men in ballet might have the ambition of getting into Les Trocs (Les Ballets Trockaderos du Monte Carlo, all men, many ballerina roles). Pointe work is an absolute necessity.
The majority of men in ballet do not have the mobile ankles that typically females have. A high curve, or ANY curve on the top of the ankle and instep is a plus, to meet the ballet fashion.
Female dance students quickly learn how to use pointe shoes to stretch the top of the ankle and instep, if they need more flexibility in the ankles. In second position, rise onto pointe, and plie, allowing the weight to go over the platform of the pointe shoe. If the ankle is not flexible, the weight of the body, supported by the pointe shoe, gives it a fabulous stretch.
And to build strength, if ankle flexibility is sufficient, rise onto pointe, and plie but stay on the platform of the shoe. This requires restraining the ankle joint and holding it exactly where you want it. For ballerinas, this is a requirement for control in general, and a necessity for the repetitive tiny hops on pointe found in classical ballet choreography.
While there are perfectly good exercises to strengthen the intrinsic muscles of the feet without using pointe shoes, basic exercises on pointe are excellent for strengthening the feet. I recommend strengthening the feet before going onto pointe, but keep it up once you have started pointe classes. A simple exercise like rising onto pointe, slowly pressing down to demi pointe (as opposed to dropping down) and then pressing back up onto full pointe, will build strength. Adding repetitions as you can, you will develop strength and control.
Getting back to men in ballet - you will need to learn all about foot and toe types, and all the tips and tricks of toe leveling, toe spacers, and toe padding. Avoid dancing in pain! You are surrounded by experts - all the girls you study with!
I think many boys and men in ballet need to hear it from their teachers - that this would be a good idea! Not for the lucky men with the hyper-mobile arches, necessarily. Even for them, however, it would introduce an understanding of what ballerinas need, to check out the delicate balance that men learn to support, as a partner.
If you are among the men in ballet and already learning technique for pointe work - good for you!
Go here for more information on excelling at pointe work and all the relevant technique details that you need.
I know many dance teachers would love to see some boys/men in ballet take pointe classes. Men in ballet actually can get exactly the right fit in pointe shoes, or let's say most can.
Why would men want to put on pointe shoes and do those cruel-looking exercises?
Some men in ballet might have the ambition of getting into Les Trocs (Les Ballets Trockaderos du Monte Carlo, all men, many ballerina roles). Pointe work is an absolute necessity.
The majority of men in ballet do not have the mobile ankles that typically females have. A high curve, or ANY curve on the top of the ankle and instep is a plus, to meet the ballet fashion.
Female dance students quickly learn how to use pointe shoes to stretch the top of the ankle and instep, if they need more flexibility in the ankles. In second position, rise onto pointe, and plie, allowing the weight to go over the platform of the pointe shoe. If the ankle is not flexible, the weight of the body, supported by the pointe shoe, gives it a fabulous stretch.
And to build strength, if ankle flexibility is sufficient, rise onto pointe, and plie but stay on the platform of the shoe. This requires restraining the ankle joint and holding it exactly where you want it. For ballerinas, this is a requirement for control in general, and a necessity for the repetitive tiny hops on pointe found in classical ballet choreography.
While there are perfectly good exercises to strengthen the intrinsic muscles of the feet without using pointe shoes, basic exercises on pointe are excellent for strengthening the feet. I recommend strengthening the feet before going onto pointe, but keep it up once you have started pointe classes. A simple exercise like rising onto pointe, slowly pressing down to demi pointe (as opposed to dropping down) and then pressing back up onto full pointe, will build strength. Adding repetitions as you can, you will develop strength and control.
Getting back to men in ballet - you will need to learn all about foot and toe types, and all the tips and tricks of toe leveling, toe spacers, and toe padding. Avoid dancing in pain! You are surrounded by experts - all the girls you study with!
I think many boys and men in ballet need to hear it from their teachers - that this would be a good idea! Not for the lucky men with the hyper-mobile arches, necessarily. Even for them, however, it would introduce an understanding of what ballerinas need, to check out the delicate balance that men learn to support, as a partner.
If you are among the men in ballet and already learning technique for pointe work - good for you!
Go here for more information on excelling at pointe work and all the relevant technique details that you need.
The Benefits Of Stretching - Avoid Injury In Ballet Shoes and Pointe Shoes
The benefits of stretching is taught to all athletes. In school, safe stretching needs to be taught for physical education classes.
For classical ballet, safe stretching helps you avoid injury. Once soft tissues are torn, inflammation and scar tissue will form. In ballet shoes and pointe shoes, and in most sports, you want uninterrupted training. Whatever kind of ballet/sports/fitness you love, you can build strength, stretch, and avoid dancing in pain.
If you like to stretch before class, some warm up is absolutely necessary. Some loose leg and arm swings, and easy bending forward and sideways is a good way to start. Deep breathing while you do this adds to the warm up.
If you feel stiff from sitting at an office desk, or driving, walk on the spot for one minute. Lift your feet and pump your arms a little, this gets lots of muscle and joints moving.
The end of the class or workout is an ideal time to stretch. If it is not possible because the next class is starting, and you cannot find another place in the studio to stretch, wear leg warmers or sweats home. Sometimes you'll feel warmed up for quite a while after class. You can stretch at home immediately or take a hot bath then stretch. Soaking with epsom salts or sea salt is healthy for the muscles. The minerals help draw the acids out of your tissues.
Active stretching is where you stretch your own muscles. If you're sitting in second position, you can hang over each leg, and then hang forward. Stretching over each leg is going to stretch your hamstrings, and all the muscles, ligaments and tendons around your pelvis and hips. You can lean out sideways keeping your torso stretched long to stretch the hip joint area. Then you can do a side bend over the same leg, and you'll feel the stretch in the hamstring and the opposite hip and side of your torso. If you're stretching to the right, be sure to keep the left hip on the floor, and the left leg stretched.
Deep breathing provides enough movement to apply pressure to the stretch, you do not need to bounce.
If you can reach your feet in a second position stretch, you can pull yourself over the leg, hold the position for a minute or more, easing back if you start to feel real pain.
Passive stretching is when someone else stretches you. Stretching with a partner is not recommended until you are very advanced. A physiotherapist can stretch you properly, but if you avoid injury, you won't need that.
Stretching causes discomfort. Before you get to the point of pain, you are already stretching. You don't need to push to the point where you see lights before your eyes.
Get this amazing and simple to learn DVD to enjoy the benefits of stretching. If you avoid injury to your soft tissues you will dance in ballet shoes and pointe shoes, or enjoy your favorite fitness workout for many years.
For classical ballet, safe stretching helps you avoid injury. Once soft tissues are torn, inflammation and scar tissue will form. In ballet shoes and pointe shoes, and in most sports, you want uninterrupted training. Whatever kind of ballet/sports/fitness you love, you can build strength, stretch, and avoid dancing in pain.
If you like to stretch before class, some warm up is absolutely necessary. Some loose leg and arm swings, and easy bending forward and sideways is a good way to start. Deep breathing while you do this adds to the warm up.
If you feel stiff from sitting at an office desk, or driving, walk on the spot for one minute. Lift your feet and pump your arms a little, this gets lots of muscle and joints moving.
The end of the class or workout is an ideal time to stretch. If it is not possible because the next class is starting, and you cannot find another place in the studio to stretch, wear leg warmers or sweats home. Sometimes you'll feel warmed up for quite a while after class. You can stretch at home immediately or take a hot bath then stretch. Soaking with epsom salts or sea salt is healthy for the muscles. The minerals help draw the acids out of your tissues.
Active stretching is where you stretch your own muscles. If you're sitting in second position, you can hang over each leg, and then hang forward. Stretching over each leg is going to stretch your hamstrings, and all the muscles, ligaments and tendons around your pelvis and hips. You can lean out sideways keeping your torso stretched long to stretch the hip joint area. Then you can do a side bend over the same leg, and you'll feel the stretch in the hamstring and the opposite hip and side of your torso. If you're stretching to the right, be sure to keep the left hip on the floor, and the left leg stretched.
Deep breathing provides enough movement to apply pressure to the stretch, you do not need to bounce.
If you can reach your feet in a second position stretch, you can pull yourself over the leg, hold the position for a minute or more, easing back if you start to feel real pain.
Passive stretching is when someone else stretches you. Stretching with a partner is not recommended until you are very advanced. A physiotherapist can stretch you properly, but if you avoid injury, you won't need that.
Stretching causes discomfort. Before you get to the point of pain, you are already stretching. You don't need to push to the point where you see lights before your eyes.
Get this amazing and simple to learn DVD to enjoy the benefits of stretching. If you avoid injury to your soft tissues you will dance in ballet shoes and pointe shoes, or enjoy your favorite fitness workout for many years.
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