| No matter how many books one reads on technique, it cannot replace taking classes early on with a master who can guide one in the right direction.It is always far easier for a child to learn anew with no previous knowledge than unlearning bad habits and then learning the proper way.
In conclusion, my recommendation is to take small steps by attending reputable dance classes and see how you hold up. If should arise that a small group of dancers try to put a piece together for their own enjoyment, see if you can tag along. Attend performances-modern as well as ballet. And, see where it takes you.
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Question 14:
"Hi!I have been taking ballet since I was five and I am now 12. I am about to begin pointe and i was wondering if you have any good tips for me because I do not have the best arch.Thank you!"
Answer:
You are not alone. All dancers face some type of a problem whether they have too much arch,too little arch, middle toes are too long, etc. Knowing that you are not alone is the key.The pointe work itself will eventually improve the feet, if it is done the right way.
There are many stretches that you can do, including the old-fashioned 'foot in hand'. Here is how you do it. First, sit on the floor and put your left foot on your right knee. Hold the top of your left foot with your right hand. Put your left wrist under the left heel(palm of hand facing down),not under the ankle,and grab the right wrist. It looks sort of like a wrestling lock. This action will create a torque whereby it pushes the heel out while the metatarsals and the toes get pulled in.
2nd exercise: While you sit down on the floor, extend both feet in front of you,parallel. Ask a friend to use the palm of their hands to push down on your metatarsals(top of the foot& middle section of foot) while you keep your knees straight. The push must be gentle and continuous. Remember,when you point your foot, with or without pointe shoes, do not grip or tighten the Achilles tendon. It should remain relaxed.
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Question 15:
"I am 12 years old, I have been dancing ballet since I was 3 and I love to dance. I am pretty good at ballet, but since I am growing I am getting chubby. Don't get the wrong impression, I am not over weight or am I trying to become anorexic, I am just trying to get ideal ballerina shape without getting myself sick. Do you know of the best dieting technique or a healthy way to get thin?"
Answer:
The most important thing that you need to know is that we are all different and what might work for me might not work for you. You must find your own way, "the healthy way".
When I was performing in the 70's and the 80's, we buried our heads into the sand in regards to our partners/co-workers of the opposite sex. We weren't aware of anorexia and bulimia to the extent that we are aware of it nowadays. I had come in contact with both neuroses through my closest friends. Let me tell you, it is not pretty and I don't wish it on my worst enemy. Somehow these individuals got the idea that a true "ballerina' must go through physical agony in order to achieve a higher standard in the beloved art. They were wrong. One of them permanently damaged herself and she is unable to bear children. And, the other, suffers by not being able to break away from the bad habit.
Moderation is the key word. Balance your life with work, study, and happy thoughts. Personally, throughout my life I had what you can refer to as a Mediterranean diet. Dieticians somehow favor this diet nowadays. It includes eating rice, grains, nuts, pasta and leaning more towards vegetables, fruits and minimizing the consumption of meat. I would like to let you know that I enjoy food, so much so that I took the time to study for two years in a well-known cooking school in England. I was influenced by Mr.B's (Balanchine) desire for good cooking, who had become somewhat of a celebrity among his friends for his cooking.
And finally, if you decide to make any major changes in your diet I recommend that you see a dietician and do lots of studies in order to increase your understanding of this subject. Know that life doesn't end with dancing-you will be playing many roles and will wear many hats before your old age.
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Question 16:
"Shahab, when I was younger I enjoyed learning ballet. Well, I am 35 and would like to take it up again as a means to get in and stay in shape. I admit I studied only briefly before constant relocating and financial problems contributed to my having to give up in frustration. It has been over 10 years since I have been physically active. But I miss it and find no artistic merit in aerobics. Can you tell me how a person my age could benefit from studying dance, provided I fully understand my limitations. I know that a full turnout may no longer be possible and pointe work is beyond me. I will appreciate any advice you can give. Thank you."
Answer:
What are the benefits of taking dance classes? The most important benefit is that one becomes more aware of ones surroundings in daily life. These individuals tend to become more conscientious about how they communicate with other people, and that helps them to become better listeners.
Please remember that dancing is physical, and as such,it demands rigorous practice. Because of this, many people find themselves obsessing with it. I guess it depends on your perspective. From one angle, it can be seen as a ball-and-chain, and from another, as total freedom. A paradox for sure.
Trying to find the art in any art form is not as easy as one might think. At what point does the dancer become an artist? For an adult such as you, finding this answer can be quite difficult. You must battle the evil menace who repeatedly says, What am I doing here? For many, this is the beginning of the end because they cannot find a solution that they can live with. Thoughts such as, I must be wasting my time, and There must be something better that I can do come to their mind. Being able to find great pleasure in minute changes and small differences requires playfulness, and this is the world that you find great artists wallowing in.
Other benefits of taking dance classes include looking good, feeling good, having the opportunity to dance with other people, and being in contact with others that share the same interest. I wish you the best in your endeavor.
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Question 17:
"What is the best exercise or stretch to open the "turnout"...I know that dancers each have their favorite move to increase the turnout.As I have gotten older, I find my flexibility is not as good as it used to be, so I have to work harder to maintain it.Thanks for your help."
Answer:
Although it is true that as we get older flexibility does decrease when it is not maintained, there are those that are able to increase their flexibility in this stage of life, such as yogis. Adapting some of their ways of life could have a positive effect. Reduction on eating meat, mediation to reduce stress, and of course, taking yoga classes, or perhaps Pilates. But none of them are as important as performing proper posture. This is where most major techniques differ and, hence, studying one type of technique and mastering it become crucial. Proper posture reduces the amount of strain in movement and provides for maximum motion and turnout. And that is what you are looking for. Attempting to change your diet, take yoga classes, on top of your ballet classes, not to mention your own personal life and your work, pretty soon you will become overwhelmed just trying to keep up with what it takes to achieve the desired motion or flexibility. Remember that dancing is not how high you can kick or do developes, but it is how you use what you have, and give the illusion that you have more to give.
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Question 18:
"I have been taking adult ballet classes...for about 5 years. I take class 3 times a week and the class is 75 minutes long. I am in fairly good physical shape tending naturally to be long and lean.However as I have reached my mid-life years, (I'm 57) my metabolism is slowing down. I am gaining weight, and the ballet class does nothing to keep my weight down... I have recently started to take some aerobics classes to increase my metabolism and hopefully burn more fat. The immediate results of the aerobic class has been an increased ability to do my grand plies with more strength.The downside of the aerobics is now my muscles feel less elongated and more bulked-up, and when I lift my leg for a develope in ballet class, the leg feels heavier.....so I am really not so sure now if the aerobics is a good thing to do if it works against the muscles developed in ballet class.What exercises can you suggest that work in harmony with ballet to increase fat burn, but at the same time not shorten the muscles and bulk them up???"
Answer:
Change is inevitable. Resisting it is painful. Fighting it is time-consuming. And, these are facts. Until such time that genes can be altered at any age, it would be best to recognize change for what it is. Try to assume a more relaxed posture in regards to change. And, that is the most beautiful lesson I learned from dancing. Society constantly tells us that we have to be a certain look and weight or certain height if we want to dance. But ideas are changing. Actually, there are companies being formed today that will not take younger dancers than 50 years of age. It might not be something that you desire to watch but it is available, and as such, a sign of change.
Increasing metabolism using physical activities can be done in two ways:
1) Repetition (e.g. aerobics class that you have taken, and/or swimming)
2) Weight program (light weight lifting)-fastest way to increase metabolism.
When you increase your muscle mass, you also increase your metabolism. Exactly what you have been experiencing and what you have been doing. There is always some amount of give and take. When you increase your mass to increase your metabolism, that means that you are also increasing the tension in the muscles. Hence, you have to work harder to accomplish the same task. You can see the loop, can't you? Some dancers choose swimming. But, all of them use a combination of weight resistance (when they go to Pilates) and swimming in order to 'tune' their body and create a comfort zone. Their metabolism is high enough so they do not gain weight and, at the same time, the muscles are not so tight that they have to work hard to execute movements.
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Question 19:
"I am 40 and I have always wanted to learn ballet technique. I think it is beautiful and athletic. I want to take a basic class but all seem overwhelming. Is a private class recommended or do I just jump in?"
Answer:
I totally believe that dancing must be done in a group.It was meant to be done that way. And as such, I recommend taking adult classes to start. But, it might be helpful to first take some yoga and/or aerobics classes, especially if you are not currently physically active, before attempting to take a ballet class. I suggest this method to adults for the very reason that they become open to working with other people to become more flexible, and to get used to keeping a rhythm in movement. In a beginning level ballet class, you are required to maintain your upper body quiet and still while your legs are active. Many new dancers find this separation strenuous in the beginning. Do not choose your first ballet class lightly-look for a reputable place with a teacher of substance rather than a student who fills the spot. Here, experience counts.
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Question 20:
"Hello.My questions concerns the different methods taught of ballet.My dance background is in Vaganova; however I will begin taking private lessons from a teacher with a background in Cecchetti in addition to my regular classes.May I ask your professional opinion on the combination of methods? I would prefer to stay true to the Vaganova method however I cannot find a private teacher with a background in the method. What is the difference between the methods?"
Answer:
The best way to see the differences between styles or methods is by attending performances by the company that uses that specific style. For example, if you get the opportunity to see the Royal Danish Ballet you will see Bournonville style at work. Or, when you see the Boston Ballet you will see Vaganova style at work. If you do not have access to live performances perhaps you can see the difference by renting or purchasing videos of dancers which are famous for using a specific technique.
I find that it is important that a young dancer’s training be established by one style or method whichever that may be. Mastery of a certain style is crucial before attempting to change or learn new methods. There are two ways to find out which style best works for you. One is by taking a class and the other is by watching a class or performer with that specific style. The one style or method that speaks to you the most is the one that you will find yourself expressive in. As such, all methods will be beneficial when they meet the right person with the right attitude and body type. And ultimately, each method will create outstanding performers when their criteria have been met. Many students frantically attempt to beat time by taking different styles in the hopes of getting ahead, but in my opinion this is not the best way to go. On the other hand, you will find that many dancers and teachers spend most of their life studying one style of dance or method and soon they become ignorant of the others. As such, they become prejudice to the other styles. Unbeknownst to them this is because they find other styles lacking certain aspects of expression and intensity. So it would be difficult to find a group of teachers from different backgrounds agreeable in methodology and teaching. The only country that I know of that has been able to overcome this problem and use and combine all of the known styles, such as Russian, French, Italian and English is England with their creation of RAD (Royal Academy of Dancing).
Since teachers in the U.S. have not been able to put aside their differences and organize under a specific methodology, young dancers such as yourself find themselves not only in a struggle to find the right teacher with credentials but having to choose a right method for their future career. Which one do I choose? – Vaganova, Cecchetti, French, English, or Bournonville? All of them seem to have found a home in the U.S. and teachers with uncertain backgrounds emerge from this mishmash. Perhaps the question should not be what method should I study but should be, instead, what is the dominant method in the current market. Unless you are aiming for a specific company and studying at the company’s school, you will be at the mercy of individuals who will be auditioning you. And, they might not find your style compatible with theirs. The same thing might happen if you are not chosen to join the company after studying at the company’s school. And you will find yourself with hundreds of others trying to find a home for your talent. This is a dilemma that many young dancers go through. Many adults do not see or face such problems in their career until they have graduated from universities under the title of bachelor’s or masters. Even today I find that many aspects of dance in the U.S. is under the heading of “luck”. Individuals who have made it someplace just happened to be at the right place at the right time with the right style. Of course all of these will be irrelevant if you are one of the top ten. I truly hope that this will happen for you.
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Question 21:
"I am 13 years old. I have been on pointe for over a year. But I am not that good, since I have a lot of trouble on almost everything. I asked my teacher if I was strong enough to be on pointe and she said yes.But is there any way I can improve on everything?...No matter how hard I try I can never get my knees straight. Also whenever I go on pointe my back either goes too forward of too back. I can't really do anything on pointe because my posture is always screwed up. Help."
Answer:
“Improving on everything” encompasses many things. I will need more information to find the cause of the weakness you experience, such as how many years you have been dancing or how many classes you take a week. Do you take these classes as a hobby or do you see a career in the future for you? I find that most often when a young dancer, such as yourself, generalizes problems it is because they have not set meaningful goals for themselves. Getting back to the word 'weakness’, I must say that many dancers find the solution to this problem by increasing their understanding of correct posture in respect to the style they are studying. So, I encourage you to read about the style that you are studying, find out more about your teacher and her background, and begin to really look and learn from your peers’ mistakes. When a teacher makes a correction in class, internalize and see if it applies to you. You can strengthen your body by swimming and taking Pilates to increase your understanding of correct posture. But none of these will help you to increase your confidence in respect to your ability. That must come from you and your desire to overcome it. Set meaningful goals and take small steps and try to see if you can achieve them.
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Question 22:
"I am 14 years old and i have been dancing since I was 2 but only seriously since a year ago. When I started somewhere new a year ago my teacher really liked me because I had a lot of potential and I could see myself improving at a really quick rate, but this past summer I took off and now I regret it terribly. Now that I have started back i've been foolish and have really forced my turnout even though my hips have been tight from the "break". Now I'm having "cracking" problems and my hips hurt. Do you think there is any possibility that I might have injured myself in a way that won't heal on it's own? And because I have lost a lot of flexibility and "airy-ness" about my dancing, do you think there is any chance that my turnout and dancing will return to it's former ability at my age after taking a whole 3 months off?"
Answer:
You must describe with more clarity what “serious” means to you. Taking off 3 months, one must have a reason. If you take a month off, you need at least twice as long to get back to your original state of physical capability. And, of course, as you get older you have to multiply that by a factor of 2, depending on your age. Loss of flexibility can be remedied with proper work and a proper attitude towards work. You have to ask yourself why you took off for 3 months. And if your answer is reasonable and you can live with it, it will be one thing. But if you are going in and out of a state of being "serious”, then you have to ask yourself, “what do I mean by “serious”?” Physical activities such as dance bring certain euphoria for the individual who experiences it firsthand. And, in this state of mind one is usually not equipped to decide with certain accuracy and intent what is at hand. What I am trying to tell you is, to step back, and get yourself a birdseye view of what is important to you. Make a schedule and do your best to achieve your heart’s desire.
If you belong to a health club or if at your school there is a swimming pool, schedule a weekly swimming session of at least 2-3 times a week for ½ hour each, and non-stop. This type of exercise should give you a relaxed state of mind as well as bringing your body back to an optimum performance level. Continue to take your ballet classes and remember what I told you in respect to time.
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Question 23:
"I am 18 years old who started ballet again two years ago after a hiatus. I want to be a professional ballet dancer in a small regional company. Right now I am at the intermediate to advanced level as far as technique but I still have working with my body structure. I am knock-kneed and hyperextended with limited turnout. While I have been trying to strengthen the amount that I have but I still have trouble holding a decent fifth position just because my knees feel like they are in the way.What accomodations can I make as well as what can I keep in mind in order to make the technique fit my body?"
Answer:
The condition Genu Valgum (knock-knees) and hyperextension does not seem to affect an individual who is involved in sports, and neither should it be in dancing. But of course it depends on the degree of the above problems. Good training and a patient teacher, who is willing to work with you to find your knack around your circumstance, is an ideal situation to have. It all depends on how far you are willing to go. Note the word ‘will’. I think Pilates should be helpful, not to correct it but to teach you how to go around it and use what you have. Sometimes strengthening programs are helpful in regards to hyperextension. Trust your judgement in regards to your condition. If you think that it will not allow you to perform to the standard that you have set upon yourself, then you should reconsider. And, of course, do otherwise if vice-versa is true.
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Question 24:
"Hi, I'm 15 years old. I'm a student of John-Cranko School. My turn-out is about 80°.Our new teacher wants me to turn out more, when I do all exercises. Do you know exercises to improve my turn-out. Do you think I will be a dancer, although I'm not 100% turned out? My old teacher always said that I can be dancer! And my feet are not bad, but I want more flexebility of my arch!"
Answer:
John Cranko’s name brought back a lot of memories for me. I associate his name mostly with the Stuttgart Ballet. In any case, I think what is more important is the question of ‘what do you, yourself, think?’ Sometimes when you ask the question to someone other than yourself it is because you have doubts and insecurity. I think questioning is very valid. It means that you are aware of your surroundings and you are trying to find your way. Ultimately, this is more important than anything else is. As long as you are looking and asking the question, chances are you will find it. Whether you can become a dancer or not, without me seeing you or having a better description of your abilities besides your turnout, at best would result in a dodgy answer. Every job has a certain requirement. If you meet those requirements you will have an easier time and can, thus, focus your attention on the work at hand. And if you don’t, all is not lost. You must then take a good look at yourself, I don’t mean physically; I mean taking an overall look at yourself. See what is important to you and what you want to do with your life. If dancing is where it is at, more power to you. But first, give yourself some time to think.
Follow up e-mail:
"Dances is very important for me, it's the way I can show my feelings and forget my problems. It shows me that I have to work hard, keep on trying and never give up. In reportary I always get main parts, even I'm not the best. The teacher say, I'm a dancer, I really can dance. After the performance everyone is inspired, even it was the easiest dance of the whole peace. But I'm also not bad in school! My arms are very soft, my feet are nice on point, my back is very movable, the only problem is my turn-out. When I do grand-plie, I'm 100% turned out. I worked on the plies and they are better now, my teacher said it too. When I lay on the floor on my back, or my stomach the plies or turned out. My teacher said I'm turned out, but I must learn to open my pelvis and work every day more turned out, and one day I can do everything turned out. She also said, she only had seen one girl in her whole dance life who was completely turned out. I asked, because I had a audition in Mannheim and they said, I'm not their type.But Stuttgart liked me. Sometimes Ballets have other imaginations of dancers."
Answer:
Now I have a better understanding of what you are inquiring about. I have a few suggestions for you. Let me know how it works for you.
It appears to me that you have the turnout but you are unable to use what you have. One reason could be that you do not have the full understanding of where the turnout comes from. I didn’t understand turnout, myself, until I met Stanley Williams (find out about him). A Dan and a master of his field, he spent the last years of his life at the School of American Ballet where I trained. To understand certain things in their deepest sense, we need to meet people such as Stanley Williams. In his class, he did not distinguish between being rhythmically on time, and perfectly accurate and exacting. To describe the above sentence, he used only one word: “Pointe”. Prior to any movement, from any position, the turnout comes from the inside region between the legs. Instead of thinking that someone is grabbing your thighs and turning them around, twisting them, in order to increase the turnout, imagine this instead; That you have two tapes attached to the innermost thighs and that they are glued tightly. And, before you make any movement from the first position or fifth position, the tape gets pulled forward and in a circular motion outward, without disturbing the body which causes the foot to maintain its position on the ground. What I am trying to tell you is that you must start thinking and imagining, and those thoughts will help you more than you know. This is not a physical force but an understanding, which is applied on a physical body in a “continuous” movement. When the beat starts, the first thing to think about, which ultimately will become automatic, is turnout. The importance of turnout must be understood. It is turnout that gives you the facility to move about the stage without having to face the direction of your toes. It is the only style of movement or method, which operates in this way. You must start thinking that the beginning of the movement is connected to the previous one and where the end of the last movement ends it is again your beginning. You must ask yourself now, where do I rest if I am constantly in motion? Think of it like this. When you throw a ball, the ball continues to go. You don’t continue to follow it and strike at it in order to make it go. It goes because of the initial push or throw or let go. These are some of the words that you must apply to your movement. It is just a game that you have a lifetime to master. Read these lines carefully because they are not said lightly. Finally, it is helpful to take a few Pilates classes, focusing on turnout and proper stand in order to free and facilitate this part of the body.
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Question 25:
"Hi! I am now 19 years old and I am from Holland, currently studying at a ballet school in Holland to be a teacher. But I still want to be a dancer!!! The only problem is that I always thought I was not good enough to become a dancer, but recently my teacher told me that if I had auditioned at an early age, I would have been able to become one. So my question is: Am I really to old now or are there some schools who are willing to accept talented older students?? Thanks!"
Answer:
I have a question for you. If you are hungry, what do you do? Probably these are some of the steps you would take: You would go to a restaurant(many types), you would go to a food stand (fast food places), you would go to a grocery store, and so on and so forth. So, if you want to dance, start auditioning many different types of audition. Why do you need to go to another school? You start asking yourself or doubting yourself because of the following reasons: “I don’t have good training”, “I don’t have the right training”, “I am not compatible”, and so on and so forth. If you are hungry for dancing and you want to perform you must audition. Just because you have gone to an audition doesn’t mean that you have to take the job if they offer it. You don’t pick up the first sandwich somebody offers you. You would look around until you find the right match. Right match for the company and the right match for you. There are many different types of companies. If you have a certain idealistic idea about performance, it is like having a stylized idea about food. “ I will not eat until I get that specific food.” Well, I am sorry to say that one cannot wait to eat forever. And in the case of dancing, time will not stand still. You can still continue with your school to get your teaching credential while you participate, even on a part-time basis to make the ends meet, with different companies, contemporary as well as classical. If you have never tried Mexican food, how would you know whether you would like it or not? And finally, do your part. Let the people that audition you do theirs. Stop putting yourself in their place and stop looking at yourself from their point of view. And, how can you teach well without having performing experience? How can you tell what it is like to audition? What does it take to prepare for one, and so on and so forth?
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Question 26:
"Hi, I am 33 years old and used to do gymnastics from the age of 13 to 18 for 3x a week. At 26 I started African Dance and at 28 I enrolled at the kind of college that admits adults without previous dance training to become a dance teacher after 3 years. I also share the view that if a graduate from this kind of school teaches dance he/she might do more damage than good. The ballet teacher at this school was a professional with experience in ballet companies, but other teachers were graduates from just this school. Since I was absolutely new to modern, classical or jazz dance they could do more harm to me than to other students who had been dancing throughout their teenage years. I quit the school after 8 months, but I was left physically insecure, all the confidence I had in my body when I had done gymnastics was shaken. I had never been as stiff as after leaving this school. I started to develop problems with my back. A doctor recommended me to stop dancing for 2 years and instead to do some special excercises to get fit again. But for the past 3 years I have been back to dancing in a commercial studio taking 3 classes/week in ballet and hip hop, and occasionally also jazz and modern. For 1/2 year I'm taking classes daily. I chose this studio because every teacher has professional experience. I am slowly getting on my feet again and overcoming the kind of traumatic experience at the dance college.I was inspired by your comments on this web-side encouraging people to dance if this is what they want to do, and to find out what their aims are. I love dance, and that's all I want to do (don't get me wrong, I've got a job). When I am in the ballet class I'm trying to do as well as I can as if I am working towards an aim. When I am in the hip hop class I'm trying to dance as cool as the dancers on MTV. Only it would be nice, if there could really be an aim, beyond the fact, that I feel that I have no choice but to go to dance class. Also my social environment doesn't really understand what I am doing there. Is there anything that I could be working towards?"
Answer:
In a conversation that took place between me and a former New York City Ballet soloist, Afshin Mofid, talking about direction and aim, he brought up a conversation that he had with Lincoln Kirsten (founder of New York City Ballet). Lincoln had told him, having to philosophize about life and about dancing one eventually begins to question the reason to dance. In other words, as long as you are an automaton, putting out verbal communication with your body, the process of thought is inherently not viable. Thinking becomes the apple of sin, whereby one begins to see things that in the state of euphoria (created by body’s desire for motion)one would not see. Does this mean that most companies require dancers that lack mental ability? I would say no. But having an individual that is happiest in motion and that does not seek higher self-actualization through mind but through body would help.
You are basically asking me, what is the purpose of dancing? While you are at it, what is the purpose of living? Which this brings us back to the sentences above. To find a purpose, you must have a desire. Within that desire you find the preoccupation that you seek in order for you to put up blind-folders so that you do not see the social commands and demands that surround you. Preoccupation with what you think is important, what wakes you up and gets you going, is in the air that you breathe until the desire has run its course. It is what people live for. You are already one step ahead of everyone else; you know what you like. You should not limit yourself to one aspect of this art. Find out what other aspects of this work interests you, and on the way, you will find what you seek.
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Question 27:
"In [my]advanced placement history class, you're required to do a project called National History Day. This years topic is "Revolution, Reaction, and Reform in History". I'm a dancer myself, so I found the topic of Martha Graham and modern dance very interesting. I saw on a website that you had studied modern dance, and I was wondering if you could answer some questions I had. They would really help me with my report and it would give me good background information. Well, here they are:
1. What is modern dance?
2. What makes modern dance different from ballet?
3. When was modern dance's most popular time?
4. Are there any special characteristics of a modern dancer (ex: ballet dancers are thin and pretty)?
5. What does it take to be a modern dancer?
6. How did Martha Graham revolutionize dance?
Thank you so much for your time, and sorry for any inconvenience."
Answer:
Questions:
What is modern dance? What makes modern dance different from ballet? When was modern dance's most popular time? Are there any special characteristics of a modern dancer (ex: ballet dancers are thin and pretty)? What does it take to be a modern dancer?
It is difficult to answer these questions since in recent years "modern dance" and ballet have become very close. It is like describing two gray colors. What appears to be modern dance to one individual might be considered "new classical" to another. But in general, modern dance tends to look for new methods of expressions, usually by putting aside anything and everything that has to do with classical. For example, one of Paul Taylor’s very first pieces was of a man standing and a woman sitting. The curtain opened up, there was no music, and they stayed motionless for a couple of minutes until the curtain closed. You might say to yourself, how is this a dance? Think of it as excluding anything that you attribute to the term ‘classical’ and what it means to you. So, if you have to move in classical you would exclude that, if you need music in classical you would exclude that, and so on and so forth. But, Paul Taylor also could have brought the attention to the lack of movement since the audience required one by the shear fact of being there. In other words, when you go to see ballet or when you go to see dance you expect movement. And when he does not give you that, he is defying the expected. Modern dance can mean different things to different people. Another example would be Martha Graham. A genius by nature, she created a stylized movement, which you can find its roots in Asian culture. She had a great interest in mythology, specifically Greek mythology, and many of her pieces are based on it. As I mentioned above, modern dance does not recognize a set time as a period that you might say ‘we are now in the modern dance zone or period’. The fact is that companies come and go very rapidly. What is hip and modern today is not tomorrow. And that is the nature of dance. It moves through culture. It is being affected and affects individuals who come into contact with it. One should remember that no one creates a new way of moving or a painting or music without understanding what he/she is defying. That means that they have to understand the classics, its structure, and what it meant to individuals who used them before they can break away and create their own. These are the defining points where the artist decides what type of music he/she wants to use, whether they want to use short people, tall people, or yes, large set people. And, the same goes for the dancer. It is very rare to have a dancer who will stay with one company throughout their career. So it pays to be versatile. It is usual for an individual to start by taking ballet classes and then diversify by taking perhaps modern dance such as Graham technique or taking classes at Alvin Ailey, and so on. And finally, how Martha Graham revolutionized dance is a very good question that cannot be answered within the scope of this e-mail and requires much more analysis before making a serious comment. I hope that I have answered your questions. Thoughtful questions, such as the ones above, means that you personally have to engage in answering them by attending libraries.
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Question 28:
"Hello.I really like your web site.My daughter is almost 10. She has taken ballet classes since 3 years old but none of them seemed very serious.This year she is in a very serious ballet class and likes it very much.Teachers have always remarked on her ability to stand on very tips of her toes and her 'good legs' and great flexibility. In this first year she has caught up to the advanced class in many areas.My daughter is being in a beginning Pointe class. She is very strong and able.However, she will only be 10 years old in a month.Her body is slender and flexible.I have read in your question and answer section that a girl should not start pointe until she is 11 years old. This is your preference. What are the things to look for in a dancer that determines a girl ready for Pointe? Is it possible that my daughter is ready for Pointe, as her teacher has determined, or is it pretty much a given that no girl is ready at almost 10 years of age? She is the youngest girl in her class and as I said before, she has caught up with girls that are in the advanced class-in flexibility and dance steps (in her ballet slippers).She has not actually started working in her Pointe shoes-even at the barre.Up to this point she has strengthening her feet.Her teacher plans to start her in pointe very soon.When she has put her Pointe shoes on at home she stands straight and is strong on them. Is she still too young? How do I approach this with her teacher? I don't want to make it sound like I know more than she does-which is definitely not the case at all.Thank you for any help you can give to us.Also, you should know that at her age she has a great desire to dance professionally. I don't want to do anything that will ruin her chances. What happens to a girl if she goes on Pointe to soon?"
Answer:
Like anything else in life where it is required to have a foresight and there is lack of knowledge and trust, plus anxiety to make a proper choice and decision that will affect another, it is best to have a secondary opinion, especially in visual arts. At this stage, whether your daughter is able or not cannot be established without knowing her past history and the type of training that was required from her and whether her response to this training was positive or not. My recommendation at this time then would be the following.
1) If “you” are attempting to take the next step for her to become a professional, then you must make time to have her be seen by an established organization. An organization that is recognized for its work and are able to maintain a minimum of a million dollars budget. It might cost you to find out but in comparison of a lifetime of error and misjudgment it is a minute loss.
2) If she has a strong desire to become a dancer then it is beneficial to find the best training possible and let her flourish and find her own way. I refer to these type of people as those who “know that they know”. I have found that those people that “know that they know” do not need much guidance. It is very difficult as a parent to accept this because we have the responsibility to decide what is best for them. In our culture in the United States most often than not it is required of each individual to make their own choice in life so they cannot blame another for their errors and failures.
Ballet is an extremely competitive art form. For that very reason auditions normally take only a few seconds. They might continue with the audition, but they have already made their decision within a few seconds. The reason for that is because everything is in the open and there is nowhere to hide. And finally, in response to ‘What happens to a girl that goes on pointe too soon?” At this stage of their lives, youngsters grow differently, making it very difficult to answer this question. Ballet requires certain technique and strength and unless the youngster has been trained properly they will not be able to hold positions and frequently they are bound to pick up bad lifetime habits difficult to get rid of. In addition, their bone structure is still quite soft and susceptible to change under pressure. And these are some of the reasons why most teachers prefer to wait until the child is at least 11 or 12 years old.
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Question 29:
"I am 13 years old, and in high school I am considering taking the performing arts classes.I can sing, and act, and I want to know how to dance.I was thinking about taking ballet and jazz classes at "... Studio" and I was wondering if I could ever be an "ok" dancer.I am not overweight at all, if anything I am under weight... no, I am not on an kind of diet I have just always been this way.I play other sports, like softball and volleyball so I am in good shape.I don't want to dance professionally or anything, just be good, like to dance in performances, etc.Do you think it is possible? I would be taking about 3 classes a week. Help, Thanks!"
Answer:
Aim for enjoyment and make every minute count. Whether you are good or not at this stage is irrelevant. The path that a potential professional will take is considerably different than the one taken by an amateur, even at a young age. You already know what you want; what is keeping you from getting what you want is your competitiveness with others. Omit that and you will have what I first stated-enjoying every minute of your time invested in the dance studio.
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Question 30:
"I live in a small city about 1 hour from a small metropolitan area. My 14 year old daughter took ballet lessons from a local teacher when she was in 1st, 2nd, and 3rd grade. (Lessons stopped after that because the teacher left town at night with the money for recital costumes.) This fall she started lessons again (once weekly) and after 5 weeks her new teacher said she was ready for pointe shoes. I questioned how in the world can she be ready for what I understand to be a very serious step in ballet instruction when she has not had any formal training for 6 years, and the teacher said she is. My daughter has very good control and form and learns very quickly, but I thought a person needed years of training before starting pointe. There is a professional dance company in the metropolitan area with a school associated with it. I have suggested to my daughter that we look into classes there, but she wants to continue lessons at this studio because she likes her teacher and classmates and does not want to make the long drive because it will be boring and she gets motion sickness. All she wants for Christmas is pointe shoes. My concern is that she not engage in an activity that may cause injury. I would appreciate any advice you could give me. Thank you."
Answer:
I must congratulate you. You are definitely correct in questioning her instructor. No one in their right mind would put the child in pointe shoes after only 5 weeks with a huge gap between training, let alone taking class only once a week. Since I don’t know which metropolitan dance school or company you were referring to, I cannot make any comment on that. But, call them in advance and ask them if you can watch a class with your daughter, preferably their professional class or their advanced class. By just watching the class you can make the necessary decision whether your daughter is willing to attend more serious dance classes with more regularity and discipline, or whether you should save your money and find something less painful to do. I have already stated in my Q. & A. the requirements for taking pointe classes for the beginners and youngsters. Unfortunately, since there is no standards that dance instructors must adhere to in the United States, policing what is being taught in small art schools befalls to the parents who are unskilled in these matters. And that is why I have opened this site, hopefully it will have an impact and educate concerned parents such as yourself and will stop unscrupulous instructors such as the ones that you have come in contact with. Take the time and visit that metropolitan dance studio-Let her see what she is missing. You must challenge her at this time because she is beginning to feel comfortable with the individuals where she is training.
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Question 31:
"My son is 19 and has been dancing for 3 years with a small town city ballet and enjoys it but does not plan to dance professionally.For the last month he has had increasing knee pain without any obvious time of injury.The pain increases with plies and leaps and lifts.He is just "marking" now and taking ibuprofen. I have an appointment for him to see a sports orthopedist and physical therapist.My question is, should I encourage him to find another activity or do you think this is treatable?"
Answer:
Knee injury is the most common problem dancers face every day. The fact that you do not know, and he doesn’t know, when the injury or pain started indicates that it has been a gradual injury rather than an incident. I cannot stress enough the importance of proper training. The alignment of the body must be correctly followed. If after checking with the sports orthopedist and x-rays you find no physical problem to correct, the next thing to do would be to slow down and let the body heal. One can use this period to do strengthening programs, take up swimming, and also attend Pilates classes to improve alignment. It is a common practice for dancers to ignore pain and suffering because it is expected from them. It is a smart dancer who can tell the difference between an injury that can end his career from one that is manageable and can be corrected by the means mentioned above. In the 14th and 15th century, it was common practice for educated people to be exposed to the seven liberal arts, which were grammar, rhetoric, geometry, astronomy, theology, music, and medicine. Dance was studied concurrently with music, but now it has taken a back seat in our daily lives. Furthermore, it is taking abuse in television sitcoms. If your son can continue to be a productive member of society and dance as an amateur at the same time, he has managed to lift himself to a higher standard and he must be commended for it.
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Question 32:
"I am now 13 years old and dancing is my whole life. I really want to take this with me in my future. I do tap and jazz. When I was little, I did ballet for 1 year. For Christmas, I asked for a pair of beginning pointe shoes. Just to practice with my friends. Next year I want to take the class. I have a pretty nice arch and I just wanted to know if I am ready for them. I also wanted to know if I am ready, what exercises I could do with them. Thank you very much."
Answer:
As you get older, you will find that having love for something, most often than not, is not enough. In order to achieve pointe work with good standing it requires much work. I have answered questions concerning pointe work and they are located in the Q.& A. section of my website-I must refer you to question #10 and others as it applies. Knowledge in our world has become crucial for our existence. The more you know about a subject that you are to undertake, or make an important decision on, the better your chances for success. Try to attend dance performances and read more about the subject. From your e-mail it appears to me that you are not ready to take on pointe work
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Question 33:
"I am 17 years old and I have just recently started ballet again after 4 years. I have a hip problem that i went to the doctor for. She said that some of the postions I put my leg into when i dance causes my back and hip to get out of alignment. I have also noticed that my back and legs are not as strong as they need to be to dance well. Could you give me some excercises to strengthen my back and legs?"
Answer:
Getting back to dancing after a long period of absence is always difficult. You must be patient with yourself and give yourself time to recover. Start focusing on proper alignment in everything you do, lower extensions to achieve the alignments, start swimming 2-3 times a week, and attend Pilates classes if they are available and you can afford it (Many of these types of places hire assistants. You can help them as a part-timer in exchange for class.).
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Question 34:
"Hey, I am in a company at my school, and an inner city school and we have to have so many people even if there not at advanced level in our class. And I am probably an intermediate dancer, but I am one of the better ones in the company. Well the teacher told us that the key to dance is using a neutral spine ( scapula flat, ribs kissed, belly concave, and AS IS bones parallel to the wall)I was wondering if u have ever heard of this and if it really does help u dancing. Also I have another question, that when you do an attitude in the back is ur hip not suppose to be lifted? Because that's another thing she has told us, and it makes your attitude look bad."
Answer:
Many dance teachers who are listed as a faculty in public education school system and deal with a large number of children, try to come up with a standard method of communication that will make their life easier when they teach dance. In the process, they put a tremendous amount of stress on the students. This problem is exasperated by lack of knowledge on the part of the teacher in the subject. In short, no one dances trying to control every part of their body simultaneously, such as keeping their stomach in, ribcage closed, scapula flat, and so on and so forth. The dancer becomes so preoccupied with controlling and remembering all these points that there is no time to concentrate on movement and remembering the combination and the musicality, which is the essence of taking dance class. Good teachers try to explain certain basic technical issues inherent in all movements and through these techniques the body becomes calm and quiet and will maintain all the points and desired shapes. And, ease of movement is also achieved, including the attitude that you had inquired about. Through training, the dancer should achieve freedom and not feel bottled up in his/her own body. What I am trying to say, is that we do not have to invent the wheel every time we are training a new dancer. But as long as there are no standards to be followed in the art of teaching dance in the United States, learning to dance is equivalent to pulling teeth and because of it it is mocked by those that cannot understand it. You can simply achieve the same understanding of how alignment should be, though it requires patience, by simply lying down on the floor, keeping your feet parallel, bending them at the knees. Then put your feet flat on the floor, hands beside your hip on the floor, look up straight to the ceiling, and keep your hip plane and without any deformities such as tucked in or reserved (sticking it out). Listen to some music that you like, breath in and breath out. Make sure that your spine is straight but relaxed, in one line. Now imagine two horizontal lines-one on your shoulder, the other on your hip, and these two lines cross the spine in a right angle. And there you have it. The line on the shoulder and the hip are parallel to each other, so when you stand they should also be in this same form. Relaxed body is essential to free movement. You can experience turnout the same way. As above, you have lied down on the floor, with your knees bent, flex your right foot while you still have your heel on the floor. Lift the heel only one inch and extend it out away from your head without touching the floor. Now turn out only that right leg from the hip, not from the foot. Turn it in again from the hip. Keep the middle toe in one line with the knee. Mind you, that the left leg maintains its position and perform the exercise without extra force or energy. As a clever person you are, you can find a multitude of movements to add to this exercise, such as tendu to a la seconde or devant. They refer to these exercises as floor exercises where you can learn how to control your upper body in relationship with your legs without having to fight to balance yourself. These types of exercises came about when dancers were injured or needed a better understanding of alignment. You can learn all the basic floor exercises in a Pilates class.
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Question 35:
"I have been searching up and down for help or information on how to overcome knee pain from ballet. My friend has been sufferring pain in the knees when ever she dance's and goes for long walks and then when the pain strikes, she then has to go sit down and have a rest. Both her and myself are willing to put full time, belief and effort so that she can overcome this pain and forfill her dreams in ballet. She is only 15 but as I said both her and I are going to help her overcome this so please could you help us out in any way"
Answer:
I have answered a similar question in Q. & A.’s Q31 on the website. If after you have checked with physicians you have found out that there is nothing inherently wrong with her knees, such as torn cartilage, it is then time to step back and take corrective measures. Give it a rest. If there is an inflammation, have her put an icepad on her knee as often as she can and take anti-inflammatory medicine prescribed by physician. Start strengthening programs, such as physical therapy. Take Pilates classes, and floor exercises (which are becoming more available every day). Take up swimming, and increase knowledge and understanding by starting to read in regards to dance techniques and its history. This is a time to become knowledgeable and to find new interests. This is a time to start working harder than ever before on other aspects of dancing, which she didn’t have time for previously. Join a public university library, which would cost her about $60 but will have more available related books and videos (free if read within the library). It is imperative to be hopeful. I have known dancers that had to undergo four major knee surgeries and still return to dancing. It takes determination and knowledge for her to get through this. And, she is not alone- many dancers experience a similar problem at least once in their career.
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Question 36:
"I am 26 years old and have had two children 23 months and 6 months. As a child I danced from the time I was 2 1/2 till I was 15. I always wanted to go professional but lack of money prevented it. I have just recently started taking an adult dance class in jazz and tap but would love to do ballet again. I have almost perfect turnout and still have excellent flexibility. Unfortunately I am about 180lbs from having my daughters. Is there anything you would recommend for returning to a decent weight for ballet and is there any hope for me ever being able to dance on Pointe again even on a hobby basis."
Answer:
It is a myth that you need money in order to take ballet classes. In my entire life I never paid anybody for a dance class. Well, that is not quite true- occasionally I paid to take some classes here and there so I could experience other styles of teaching. It is surprising how many people actually stop trying to follow their dreams because of lack of money. There is always a way. It is only the question of ‘how badly do you want it?’ It is lack of knowledge, which we try to remedy here for future generations. There are many scholarships available all around the world for those who are willing and have talent. All performances, from regional to major ballet companies, require and need people. Of course the companies are willing to give scholarships to boys more than girls, but in all honesty, potential always exists. All is not lost. Your desire to experience dancing will be an extra boost to help you achieve your goal while you lose the weight and get yourself in a right set of mind. Throughout my career I have seen women who teach or take classes while they were pregnant and after giving birth return to their routine shortly afterwards to lose their excess weight and to do what they love best. And you shall not be any different. Whether you are able to dance on pointe or not is irrelevant. Dancing on pointe is just a minute section of the dance world. There is so much more to it. As long as you know there is always a way to get around problems, you will continue to look to find it. To lose the weight I recommend registering for some aerobics classes at your local YMCA or community center if lack of money still persists. Otherwise, you can join a health club. I think three times a week should be good enough. Once you have lost your weight and your desired weight has been achieved, replace the aerobics with swimming. Try to look forward to the future and teach your children the same love of dance. You can always teach them what you know as they get older and there is a great sense of accomplishment there.
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Question 37:
"Hi! I just turned 12 and wondering if I could be able to get back in ballet.I've had previous experiance when I was three,four and five. Since then I done gymnastics, karate, soccer, and cheerleading. I can't do a split but I have good flexability in my legs. I'm hoping I can do pointe and other things after some training but I'm afraid I won't fit in."
Answer:
Under proper circumstances and training, you should have no problem getting back to routines. But I would like to respond to what appears to be your main concern: “fitting in”. You must remember that ‘fitting in’ usually means that you are asking for someone else’s approval. As dancers, we start our career at such a young age and invest an enormous amount of energy and effort to achieve our goal; it is bound to displease some members of our family who believe that we should spend our time on something more tangible. There is also a question of ‘fitting in’ or gaining approval from our peers. In either case, as you grow older you will find that always attempting to please others is usually a waste of time, and what you need to do is to choose a path that has some meaning for you. This could be a short or a long-term goal. Commit yourself. Put blinders on and go about your business. You might succeed or fail. In either case, you will have learned something new about yourself and you will make a better decision next time.
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Question 38:
"Please explain to me the level rating system for ballet. My daughter is looking into intensive summer workshops and one of the schools differentiates between levels 2, 2x, 3 and 4,5,6 etc. I would like to know how the level of a child is determined. Is it based upon specific skills attained or something other than that. Thank you for your help."
Answer:
Your question assumes that somehow all dance schools, major or minor, have come together to set some type of standard that would be recognized by all who live in the United States. As I have mentioned in my Q. & A., United States does not have any set standards in respect to classical ballet. Hence, each specific school, which might be connected to some type of regional or major ballet company, have their own ‘level rating system’. It is basically a way of categorizing students, hoping that certain skills can be taught or learned within a set time period. The levels usually have been predetermined by either the ballet mistress’ or ballet master’s own personal experience as performers and teachers. The level rating system is also a way for paying parents to figure out how much more money they have to come up with in order for their child to go through the program. But my experience tells me that none of these level rating systems really matters because those who are able bodied master the skills and precision within a short period of time, which makes the system obsolete. And those who are unable usually will be set aside to complete the program but will not be taken as company members. In a school associated with a major company, very few of their students per year are transferred to the company itself-one or two at best. So, the rating system is a way for generating steady income for the school and the company. In the Royal Ballet school, which is associated with the Royal Ballet company, students are yearly examined with some being eliminated to make room for newcomers. In this way, the student knows where he/she stands and is not misled with a hope of joining the company. And that is the major difference between the American and the English rating systems.
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Question 39:
"I am a male ballet student and was wondering if a company like ABT for example would consider hiring a male pointe dancer. I've heard of Les Ballets Trockadero but I mean a real ballet company that has a vast repertoire and large amounts of fame. Or would any ballet company like NCDT. I was wondering because I think I might be better at pointe than actual male oriented ballet. And do you think technique and how good you are matters when something like this comes up? I am 15; 5' 6''; and weigh 120-125 lbs. Everyone says I look anorexic but I'm not. And people say I'm the most
flexible guy they've ever seen (which really surprises me)! So any advice, answers, or help you can dish out would be greatly appreciated."
Answer:
I believe any type of ability beyond and above what is required is great. But, being able to go on pointe and being able to execute movements with clarity and purpose is another. In the past, the reason they started to use pointe was to give the impression or allusion of lightness. Of course, we are far beyond that. But, still there is the question, why? The question is not to distract you from your interest but rather to pinpoint your idea further. It is interesting that you are inquiring to know where it can be used. And, that is good because for rare abilities it is best that you find a market for it, first, before you jump into it fullheartedly. In any event, technical abilities certainly are a must. But on top of that, because of your interest in pointe you must also familiarize yourself with the mannerisms and styles, but yet, the different choreography of solo pieces which usually female dancers become exposed to in advanced pointe classes. Many male dancers, in order to improve their pointe, resort to using pointe work at their leisure. And occasionally they are able to perform half-decent combinations. But this is a far cry from being able to use the pointe work as bread and butter, like women do. I guess what I am trying to say is that you have to reach within yourself and find that entrepreneur within you and find a new use for it that hasn’t been thought of yet.
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Question 40:
"Hi I am 21 and I recently started teaching a ballet technique class at a studio that for years has only focused on jazz and hip hop. Many of the parents are excited about their children learning better posture, turnout, and grace however the children, who range from age 6-12, are not as enthusiastic. My hope is not to turn them into ballerinas, but instead educate them on the basics of ballet to improve their technique in all areas and build strength to prevent injuries. How do I get my young Britney Spears dancers to enjoy the discipline of ballet?"
Answer:
The first question that you have to ask yourself is whether your personal standards and ideals in regards to ballet is more important than being flexible in these circumstances. Can you divert? Can you change? If the answers are no, you will have a difficult time. If the answers are yes, please read on.
It is always wonderful to have students that are there willingly and participate in every moment of the class. But having fallen short from this ideal, all is not lost. You have to find their needs and their interests and use that to build your class around it. For example, in modern dance or jazz, ability to fall or use the upper body separate from the center is an essential technique. Hence, those who know Limon technique fair well. If you are not familiar with this technique or style, I suggest that you go to your local university and request a videotape of a dance performance that uses it. The technique requires knowledge of ballet in conjunction with falls and rolls and catching oneself and hitting certain ballet positions. Perhaps you could come up with something like that. It will add a certain amount of difficulties and also would be unusual enough to catch their interest. In between, you can put in your ballet techniques and correct the students individually to your heart’s desire. But first you have to be able to hold them down and that requires reaching within yourself and throwing in a few combinations that will hold their interest as well.
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Question 41:
"I have a daughter that is very serious about ballet. She is eleven. She shows a talent for ballet, the discipline, and the body type except for her height. She is very short for her age. I have spoken to as many people as I can about this because may be her efforts would be better spent in another direction if her height is going to prevent her from fulfilling this passion (obsession). I know that most professional companies have a height that most of their corp is. Is their an industry standard or minimum that they are looking for? I am looking for honest answers because she is so serious about this.
Any information you can give will be greatly appreciated."
Answer:
All companies, especially ballet companies, have certain standards that they try to follow. But most certainly these standards change from continent to continent. And with that, the body type requirement also changes. For example, since the appearance of Balanchine and his affiliates, United States has had a preference for taller, thinner females with long legs. This dominance has also had a major effect around the globe, but this does not mean talented, shorter individuals have no chance at all. These individuals, if male, must be outstanding in technical abilities since they will have a harder time to partner. Such an individual was hired by New York City Ballet in 1983 (or 1984). He was a gold medallist from Japan. He had won the same medal that Baryshnikov had won several years earlier. For women, shorter ladies are preferred for partnering but, of course, this has some limits as well. Extreme height differences, in either direction, must be balanced with technical ability to compensate. This is not only for ballet but for all other dance styles as well.
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Question 42:
"I have noticed lately that I have an increasing problem with what I call the "duck-tail"...that is, my derriere goes out in the back when I do a plie. My teacher humorously calls this "sitting on the pot"...does this happen because of a weakness in the abdominals? And what exercises can help correct this tendency? Thanks for all your help."
Answer:
This is a basic error ("derriere goes out in the back when I do a plie") and it could happen for a multitude of reasons. I will name just a few: 1) too much turnout from the feet rather than from the hips 2) alignment error or misunderstanding 3) lack of ability to mentally see movement before the execution
In Q. & A. #34, I have explained the very basics for understanding alignment, which includes exercises. The fact is that in this position the hip or tailbone is stationary and you do not have to worry about balancing, concentrating on turning in and turning out of one leg. One inch off the floor, bending and straightening the leg, you will come to an understanding of where turnout truly comes from.
What hit me about your letter was your instructor’s method for describing the plie movement: "sitting on the pot". I find this to be negative imagery. Since doing a plie is one of the most common steps in ballet, the words "sitting on the pot" become enhanced and enforced by the performer. You must replace these terms with a positive imagery, such as with pictures of correct movement.
When you are lying down on the floor and doing the exercises mentioned in Q. & A. #34, after awhile you will see yourself performing these steps with ease and relaxation. The best way to correct an individual is to go through the dance movement at least once or twice in the class very slowly, breaking every step down so that eventually the movement becomes automatic.
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Question 43:
"My daughter is 10 and has been dancing for six years. The past three years she has been taking two ballet classes a week and this year three in preparation for Pointe work. She's been told she'll be ready for Pointe this summer. She does well in her classes. She also is an accomplished cheerleader. On more than one occasion I have been lectured about how cheerleading or any other sport will ruin her stretch. Her teacher seems to feel that she should be dedicated at this point to dance only and stop any other forms of physical activity. I think if she could she'd have the girls stop gym. Could you please explain the biomechanical basis for her beliefs because it seem to me that a 10 year old should be able to do both provided that she has the stamina and proficient teachers/coaches. My daughter is aware that she'll have to choose between these two activities in a few years. I don't think she knows what her long turn goals are with respect to ballet. I think she'll be too petit to consider a professional career. Is it appropriate of her dance teacher to but this much pressure on her at this age? Thank You."
Answer:
Simply put, dancing classical ballet, or any physical sctivity that requires remembering a multitude of movements weaving into each other, and non-repeating especially, must become automatic. In other words, the dancer, him/herself takes the back seat and allows the body to execute movements. It is known as muscular memory. And that is why classical ballet dance teachers require their students to refrain from other activities. Of course this has other benefits as well, such as preventing potential injuries from participating in other sports, which could keep the dancer from attending class on a regular basis. It is imperative for individuals who are planning to become a professional to exercise specific parts of their body in a certain manner. If strenuous exercises are performed on a regular basis outside of dance class, the legs and upper body could develop in opposition to what the dancer wishes, hence, stopping the dancer from executing movements with ease. It is quite difficult for both the parent and his/her child who attends dance class in this society to minimize activities when there is so much to be offered, from ice skating to snowboarding, soccer to football, gymnastics, etc. Where do we draw the line? It is difficult to choose. On one hand, we want to expose them to as much as possible and on the other hand,doing so will damage other potentials. Best example would be a boy who likes boxing yet has much talent in playing piano.
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Question 44:
"Hi. I need to do a report on the alikenesses and differences of ballet and mime...do you think you and help me a little because I can't find any information anywhere....thank you so much"
Answer:
Pantomime and ballet can exist separately and, yet, together. Those who study pantomime take ballet classes regularly and, of course, ballet dancers study pantomime as a part of their education, especially where classical ballet is involved. Both of them require silence and abstract movement to tell their story. In ballet, alignment and visual exactness is required and each movement is not necessarily helping in the totality of the story. But in mime, each step will be required to bring about certain meaning.
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Question 45:
"I have problems doing releves en pointe.Do you have tips or suggestions to help me be able to do them?"
Answer:
Obviously, any basic footwork that you might have been taught in your first day of pointe work can be helpful, such as roll ups and roll downs. You face the barre, plie, hold the plie and you roll to releve, maintaining the plie, and while you are on pointe you slowly continue to straighten your knees while at the same time you continue to maintain the turnout and alignment. Most importantly, you must keep your Achilles tendon relaxed. Do not allow it to become tense, even when you straighten your knees. This exercise must be done slowly and also can be done in reverse. In other words, you releve or roll to releve on pointe, then plie on pointe, and then roll down on your feet, putting your heel down on the floor, then you straighten. Be mindful not to lock your knees or push your knees back when you are straightening your knees in this exercise or any other exercise. Think of straightening your knees and pointing your feet as one motion. It is like putting a sock on, which is extremely long. When you put your foot in the sock the energy goes into the sock and out of it. It continues until the knee is straightened, and no further.I think you might be having difficulty understanding when to stop straightening your knee and where your energy goes when you are trying to straighten your knee. There is a certain imbalance—the two legs are not equal. This also implies that mentally you don’t consider them as equal. This can be remedied by starting all exercises with the weaker leg first and then following with the stronger leg. This way, you give your weak side an opportunity to catch up and, at the same time, build some confidence that the right and left are just that and not better or worse.
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Question 46:
"Hi Shahab!... I am 15 years old. I started dancing ballet when I was three. At the school, my instructor Katarina (who has been dancing all her life in a well known company in Russia) said that it is remarkable how straight my legs are, how flexible I am and how strong my feet are. She immediately asked me to dance "sur pointes" when I turned five. I know that it is extremely quick. I stopped dancing when I was 6 because of the war. Now, I live in Canada, I wish to start dancing again. I have brought with me some videotapes with movement and dancing instructions. I practice as much as i can...I'm VERY good "sur pointes" but, every school I go to dance, they always tell me I can't start by dancing "sur pointes" right away because I need experience.. :( I really know I can do it! I have a passion for dance and whenever I'm on the stage I feel like an angel and I feel as if I'm floating and flying. :) I hope you can help me. Thank you a lot."
Answer:
Everyone is free to do what he or she wants to do, in theory. But, rules and regulations of the society that we live in bind us. In the society you lived in before, things were obviously different. Now, you are where you are at and things are not to your liking in this specific circumstance. So, let me give you an example. A person who is trained in Austria for violin holds their bow differently than a person who studies in England. You can practically tell by just looking at them, what country they are from. This does not, however, state which one is the better violinist. The rules are just different. Recognizing that is where you will find your freedom. Using the time you have to the best of your ability where you are at is the smartest thing you can do. You do not need my permission to do one thing or the other. The fact that you are questioning implies that you know the answer, otherwise, you would have done it by now. Focus on the enjoyment, get the best training you can and as frequently as you can. Keep your eyes open for possibilities and do not limit yourself if you think you have potential.
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Question 47:
"Hi! I'm 14 years old and I have been taking ballet since I was 3 but my teacher wasn't big on ballet, I loved it!!! I recently was forced to quit because my family had to move to a different city. I want to start up again and I'm not sure if i should start in intermediate or beginner. I'm also thinking of doing ballet professionaly can you tell me some good ballet schools? Thanks!"
Answer:
I do not refer people to ballet schools. This is one thing that you should do on your own. Choose the school that gives you the best opportunity to become a professional, if that is your goal. And, it is not too difficult. All you have to do is find out where some famous dancers were trained. Before deciding on becoming a professional read the Q. & A. section in its entirety. I have some pointers in there that might help you in making this decision. In addition, it is easy to use the word “professional”. The action speaks louder than the word. One is a professional, even though he/she might not be making the money as of yet, with their approach to their training. That means taking 5-6 classes a week—classes with good standards and direction.
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Question 48:
"I'm 14 years old and I have taken ballet since I was about 11. My teacher told my parents that she noticed a natural talent in me and I have been moved up to a advanced class after a year and a half of taking classes. Now I take regular classes and one hour of private lessons a week. I would really like to be a professional dancer some day. Do you think it's too late for me to start looking into it? Thank you!"
Answer:
In this world, everyone has to make a living and that means he or she is selling or promoting something that will ultimately enrich him or her. When you enter, or consider entering, a very competitive world where only a few people are able to make a living in, then you should do the smart thing-—always get a second opinion. You don’t have to inform your teacher before doing so—-just go audition or have some major dance company or school have a look at you. If you are serious, that is inevitable. Of course, you can always sit back and enjoy the compliments you receive and leave it at that. It is good to become informed by reading about other dancers and their history, find out when they started dancing, whom they studied with, and especially at what age they started to work with a major company. Take the time to read the Q. & A. section in its entirety.
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Question 49:
"Your answers are awesome.I found your page of answers and questions in search of insight on praise dancing and where I can learn in New York. I am a 33 years old woman that has just began to discover my intense joy in dancing. The class that I am taking shows beginning ballet steps with a modern twist. I have no previous training,but my dance teacher who has extensive dance experience, has remarked many times that I have a natural gift to dance. I love to dance and would like to increase my skill and creativity in ballet. While all of the odds are stacked, being over 30, I see what my dance teacher is doing in her local community by offering kids an opportunity to learn real dancing that they would not otherwise be exposed to, and would like to have the qualifications to do the same in mine if the opportunity presented itself. I may never be a professional ballerina, yet I do think there is a need, and audience and a possibility for me to truly blossom. There are so many things to learn. Can you suggest the best strategypathway?"
Answer:
In places such as England, there is training available for those who wish to teach music and/or dance in public arenas such as community centers. Of course, they require some type of certification and licensing—-certain classes must have been mastered and certain examinations completed. But in the United States, as far as I know, there is no such narrow specialization. The long route is getting a master’s degree. The short route is as follows but there is no guarantee of getting a job afterwards: find the best teacher that you can, tell him/her what you have in mind and ask him/her to train you. That means that you have to take classes regularly for a while and, ultimately, help him/her in teaching lower level classes so that you can gain experience. But based on what I have seen being taught in some regular schools and community centers, I do not consider them to be valid dance education or training centers—-I believe these locations do more harm than good to the community of dance as a whole. This situation owes much to a lack of proper training and interest by those who are in control of fund disbursements. Hence, those students who are exposed to this type of training tend to have a dim view of dance and the dance world.
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Question 50:
"HI I am an eleven year old dance student.I have never taken ballet except when I was about 6 or 8 and my teacher taught me way to hard stuff for my age.Anyway...I have taken jazz and am on a dance team.I have a perfect dance body according to my dance teachers.I'm 5'6 and weigh about 98 pounds.I was wondering if you think it possible for me to get on pointe shoes because I can stand on my toes(which is bad but is a habit)and turn on them in my jazz shoes.Alot of people think I am already on pointe but I am not. MY teacher says I should do ankle raises to strengthen my ankles before I try to get on pointe shoes but that is the only advice she has given me.I haven't really asked her though.Is there any OTHER dance moves to strengthen my ankles?and also is there hope for me to get to be a proffesianal dancer?I can do split leaps and very clean pirrouettes and splits etc.I can almost do my left splits and left split leaps.What way is there to help me do things better on my left side?"
Answer:
I have answered the question of how to become a professional in the Q. & A. in a segmentary method. In other words, you might have to look at the Q. & A. section in its entirety to find the answer. At the same time, you will come across some questions and answers that are relevant to those of us who have interest in the profession of dance.
To strengthen the left side you can start all combinations at the barre on the left side instead of the right. Hence, you give more importance to the left and your first attempt and concentration is employed to improve the left side. The best way to start using pointe shoes is to take pointe classes. Normally, after several years of training and preparation the body is prepared to take this step. It is not the student who makes the decision but, instead, the teacher who leads the class as a whole, together, to this point. I would like to emphasize that the whole dance world does not revolve around pointe work. There is so much more to be seen and appreciated about dance. And yet, most students are stuck with the mere façade of dance, namely pointe work.
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Question 51:
"Hi, I'm 14 years old and I am a competitive Rhythmic gymnast. Once a week we have ballet lessons (half-hourly), and I was wondering if taking an additional ballet class would benefit. I'm flexible, and have good turnout. I also like ballet a lot, but am I too old to start properly?"
Answer:
I have seen gymnasts become dancers, for example Igor Youskevitch participated in the 1932 Olympics before becoming a very famous dancer. When I was at the New York City Ballet School we had someone who had won a gold medal who was now training to become a professional dancer. He had difficulty landing softly using his plies, since in gymnastics ending with straight knees is promoted. In any case, I suggest you register with the best ballet school that you can and begin to train on a regular basis. Set the goal at one year and look at your improvement as a whole. At that point, you will be in a better position to make this decision.
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Question 52:
"My daughter is 6 years old and is taking ballet classes at the... Ballet pre-primary level. She loves to dance.However,or as well, she just made a highly competitive gymnastics team which requires training 3X/week for 9 hours. Part of the time they have one of the...ballet instructors teaching them at the gym which is nice. Anyhow, my daughter appears lean and tall...about a head taller than the other gymnasts that are her age. At what point if ballet is to be her destination should she drop gymnastics? Right now she only has one ballet class/week for an hour and one swim class for 1/2 hour. The ballet instructor says she has a nice frog stretch, great leaps, and model jumps with pointed toes...she has much flexibility with the splits et. which I don't want her to lose in strength moves in gymnastics. She can climb the gym rope with just her arms....which does not seem that great for ballet arms...anyhow....any suggestions? She likes it all..school, art, flute, popcorn playhouse. Gymnastics just came calling first with the time demands but she does not prefer it to ballet. How long can she do the gymnastics before it will encroach on her ballet?"
Answer:
I found the student “need” to be the key decision factor.It will project the right time and activity. Nothing is written in stone and everybody is different, physically and mentally. One cannot say with any certainty that guiding children to a certain activity will produce exacting success. But the chosen field most certainly will give him/her lifetime characteristics. I believe the answer you are looking for can be understood best when it is projected into the future. Therefore, reading the Q. & A. section question #43 and #51 should help.
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Question 53:
"I have a daughter who is 17. She had classes in ballet, tap, baton and jazz from age 3 until she was 7 when she started acrobatics. She is an excellent tumbler and cheered until last year. Recently she has taken a modern dance class at her high school which was really too easy. She had signed herself up for ballet at a local ballet school, but was put in a class with 7 and 8 year olds. After just two weeks, they were asking for money for their recital. My daughter wants to find a situation where she can "work and work and work" on her technique and on getting strong. Her long-range goal is to get a degree in dance and education. We are having a heck of a time finding a program that would accommodate an older girl that has great flexibility, the "perfect" dancer's body, but hasn't had a chance to develop the technique. Can you give me some ideas on where we can look?"
Answer:
Every state attempts to present itself in the form of at least one or two major dance company. These are some of the locations you can get started on (i.e. Kansas City ballet, Minnesota ballet). Word of mouth can be quite successful in locating a good dance studio. Many dance soloists and principals, tired of living in large cities and burnt out from travelling, decide to open their dance studios in small cities. If you are not sure of the background of the dance teacher who you take your children to, inquire directly about it or look in the Internet under their name (many dancers and teachers provide listings of this sort). Dance Magazine provides a listing of schools and classes for each state. Once you have a list, drive to these locations and ask if you can watch the class with your daughter. This way, you can make the best decision for her. Attending state college with a dance program could be another option, in conjunction with private classes.
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Question 54:
"Can you tell me something [about the CSSSA prgram]? We are from Nebraska, and my daughter was chosen by audition tape to take their 4 weeks summer program. Thanks!"
Answer:
Probably by now you have made a decision whether your daughter is going or not. Summer programs everywhere tend to be very hectic and watered down in order to expose maximum number of people with some degree of knowledge. As our population grows, this process will also expand in order to accommodate. I traveled the U.S. and, as far as I know, all states provide some form of art program similar to California State Summer School for the Arts, including Nebraska. I am familiar with the work of some of the instructors, such as Donald Bradburn from UC Irvine, who will be teaching dance history there this summer. For someone who is trying to find a path for their future, these types of programs will not be such a bad idea because they will be exposed to different subjects in one location, sampling if you will. But, if she has already decided what she is going to do with your life, such as ‘I am going to become a ballet dancer,’ or ‘I am going to teach dance history,’ or ‘I am going to be a back up dancer’ I would say that she is wasting her time with these types of programs. If she already knows what she wants to do, then she should pursue more narrow programs that will provide more tangible knowledge in preparation for the future. For example, School of American Ballet (NYC Ballet) provides summer programs that can be quite challenging for those who want to become ballet dancers. In regards to CSSSA, the program is open to students from +2,700 public and private CA secondary schools and the tuition for CA residents is approx. $1515 and $3700 for an out-of-state student. In addition, many state colleges, including universities, have policies that practically open the door to high school students during the summer. It gives students the opportunity to expose themselves to quality classes at minimum cost and for those that plan to join a university the credit can be accumulated.
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Question 55:
"Hello. My daughter is 8 1/2. She has been in ballet since she was 5. She has also taken jazz, but not as long. She enjoys class, most of the time.Sometimes, though, she seems discontent, and not very willing to try what the teacher has asked of her and I find myself calling her over to the side to correct her behavior. When I ask her, at home in private, if she wants to continue class she always says yes. Is it normal for children to go through this stage of not wanting to be in class sometimes, or should I dig deeper and find out if, perhaps, she is only doing it to please someone else? I was not a dancer, so it's not as though I am trying to get her to live out my dream for me. I feel that if she doesn't want to do it, we can always find something else for her to enjoy, and I have told her this on many occasions. I also have another question pertaining to the "level" at which she is being taught. She is in Ballet III. The other girls in her class are all the same age as her. They have recently lost the teacher they had since they began, and the teacher they had for the last three months, who was wonderful is now gone as well for personal reasons, now they have a new teacher who is very young, h |
