Dance Advantage » For Students

9 Tips for Improving Pirouettes

Nichelle (admin) — Mon, 15 Mar 2010 13:20:18 +0000

This post first appeared in April 2008. I have added additional thoughts and links.

: Image by bichxa via Flickr

1. Engage your core muscles to maintain good alignment during the turn.
2. Every turn is a balance, so practice balancing the position in which you want to turn (retiré, a la seconde, etc.)
3. Spot and keep your eyes off the floor (or that’s where you’ll end up).
4. Use only enough push to get around – sometimes a dance student’s biggest downfall in pirouettes is pushing so hard that they throw the turn off.
5. “Connect” your arms to your back – you should feel and imagine width across the back and shoulder blades and the arms should maintain their position (don’t “wind-up” for a turn)
6. Take off from a properly placed and expansive plié for power in the turn.
7. Strengthen your ankles supporting the relevé – if you are wobbly, sickled, or pronated, this will ruin your turn.
8. Mentally, make a choice to come down from the turn, don’t “let” gravity make the choice for you.
9. Visualize yourself doing a beautiful, clean pirouette – it really does help!

Pirouettes are not an easy movement. Anyone can whip themselves around but it takes practice, strength, and good alignment to perform a quality pirouette. The foundation of a successful pirouette is barre and center fundamentals like plié, relevé, etc. Work on getting a good, clean single pirouette first (with a strong grasp on the elements above), then progress to multiples. Don’t give up! Apply your teacher’s corrections and be patient, allowing your confidence to grow as you see improvement. Soon, you will be able to do multiple pirouettes.

Food For Thought:

Kenneth Laws: Physics and the Art of Dance

Years ago, during a master class with Kenneth Laws on the physics of dance I learned that, when asked how they hold their arms during a pirouette, most dancers will show you a nice, round, proper 1st position. However, after studying footage of excellent turners, he found that they all brought their arms closer to their body than is proper for a 1st position port de bras. When you think of how an ice skater spins, you will probably understand why. It was an example that illustrated that a dancer’s intuitive response to what physics requires is sometimes contradictory to what we are taught or think to be true.

You may also be interested in…

Defining and Dissecting a Piqué Turn

What are some other tips that you can offer or have been given to you?

What do you find most difficult about pirouettes?

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Developpé Dilemma: Deb Vogel Addresses a Reader Question

Guest — Thu, 11 Feb 2010 13:20:31 +0000

Photo by Giorgio Montersino via Flickr

I often get emails from dancers, students, and others asking for advice or help with a particular problem. I do try to answer inquiries from readers or do my best to point them in a direction where they may find answers. When I received Amy’s question about pain in developpé below, my instinct was to help yet, I was not confident that I was fully equipped to assess what might be happening with Amy. So, I did what I would have for any student who had a problem I could not work out – I took her question to someone more knowledgeable than I – Deb Vogel, a neuromuscular educator and movement analyst who has been working with dancers for years. She has an awesome blog within which she answers questions very much like Amy’s. I reference her work often in my articles about the body and while I have a teacher’s knowledge of anatomy and kinesiology (enough to write and research for my articles and work with students in person), I felt sure that Deb would provide a more educated response.

Deb has been kind enough to do just that right here on Dance Advantage.

Amy’s Question

Hello, my name is Amy. I recently stumbled upon your article regarding the psoas and it immediately sparked something inside. I am twenty years old and danced for majority of my life. I started ballet a little later than most around ten. I have been dancing with different ballet companies, but find myself still crying myself to sleep at night because I cannot get through a center exercise/adage with my terrible extension. I have had training growing up where there was no discussion or thorough understanding of HOW to lift one’s leg or what those muscles really do. I have turnout and can kick quite high, but ask me to develop my leg past my knee and I cringe and tear up. (Sounds so dramatic, but hurts so badly). As I begin to lift I immediately feel the top part of my leg tense and it feels like someone is pushing down upon my leg as I go higher. I know that is not how the leg should be lifted. I cannot find any teachers to help me fix this issue, I have asked around and perhaps their discussions or explanations make no sense. I feel like no matter how much I try, I cannot fix this issue. I am desperate to at least be able to hold my leg a little above 90 degrees with ease. I figured perhaps, you might have a little insight that could point me in the right direction. Thank you so much for taking the time to read this, and I hope you can help!
Sincerely,
Amy

Here is what Deborah had to say to Amy:

Photo courtesy René Michaels Photo & Design - photosbyrene.com

Amy, you are on the right track with thinking that it might be a strength issue with the iliopsoas muscle. As Nichelle pointed out in her article on the iliopsoas – when the leg gets above 90 degrees the quadriceps lose their leverage and the iliopsoas becomes the prime mover of an extension. You would think that doing multiple grand battements and kicks in class would strengthen the iliopsoas – but they don’t.

Here’s a simple and easy way to start strengthening your iliopsoas. Sit on the front part of a chair with your back long and tall, both feet on the ground. You are going to monitor staying on top of your pelvis – don’t let yourself roll to the back side of the pelvis during this exercise. Start by lifting one knee up towards the ceiling, and then lower it just so your toe touches, and lift it again. Can you do 20 repetitions without fatiguing? That would be your first goal, and you’ll be delighted at how quickly you gain strength.

Do the same movement on the other leg. If you want to make this more challenging you can tie a theraband around both thighs to provide resistance to the leg that’s lifting.

Once that becomes easier to do you can lean back in your chair so your back is against the back of the chair (your lower back and pelvis may be slightly tucked under, that’s okay for this exercise – even though it isn’t for your standing alignment). Now have one knee bent with your foot on the floor and the other leg straight. Turn the straight leg out slightly before lifting it up as high as is comfortable to the front before lowering to the level of the other knee. Continue lifting and lowering the straight leg up to 20 times before doing the other leg.

Another variation is to lift the leg up as high as you can, bend it into a passé like position and then straighten it forward (parallel to the ground). Then reverse, bending the knee and lifting the thigh like a developpe to the front and then lower the leg to parallel to the floor. You can again use the theraband wrapped around the thighs to make it more challenging.

In the beginning your iliopsoas may tire very quickly…. but in a relatively short time you will see improvement. It goes without saying that after you have spent some time strengthening the iliopsoas you would then want to stretch it out with doing one of the many variations of lunge stretching. I’ve put a short video up on YouTube on iliopsoas stretching.

Hope that helps!
Deborah

Author, academic, and co-founder of The Center for Dance Medicine in NYC, Deborah Vogel has been involved in the medical field since 1978, helping hundreds of people – from dancers to athletes to office workers – get the most out of their bodies while minimizing injury risks. Her articles can frequently be found in Dance Teacher, Dance Spirit, and Pointe Magazines Deborah wrote Tune Up Your Turnout: A Dancer’s Guide, and has co-authored a 3-level guide for teaching functional anatomy in bite-size pieces within a class format. She offers a free newsletter for dancers on injury prevention and technique tips as well as running The Body Series, an online source of educational products for dancers and dance teachers. Currently, she is on faculty at Oberlin College and the Oberlin Conservatory of Music.

Answers to Your Questions About College Dance

Nichelle (admin) — Fri, 22 Jan 2010 13:00:37 +0000

Prospective college students have a lot of questions!

Of course you do! You are making important decisions regarding your future. Not to mention the transition from high school to a university is one of the largest leaps you’ll ever take. Dancers that want to continue their dance education at the college level have their own unique concerns. The number of questions you have about auditioning, health and nutrition, expectations, and more may feel overwhelming but there are plenty of resources online to help!

I’ve taken some time recently to look at two websites that I think any aspiring dance major should pay a visit. The logos are a bit cliché but the contents are high quality and will answer many of your questions about college dance.

DanceU101

The magazine’s of Macfadden Publishing, which include Pointe, Dance Magazine, Dance Spirit, and Dance Teacher, have funneled tons of relevant articles into this college dance hub. Not to be missed are the FAQ’s, where experts answer your questions about what it’s like to be a dance major or study at a conservatory, the application process, and financial aid. Or, you can visit the forum and gather answers to your questions. There is a lot more here, too, from articles on dance careers to highlighting individual college programs and dance departments.

Stay informed with Twitter: @DanceU101

Dance(212): the college years

The same folks bringing you DanceU101 have produced their own take on reality TV. Last summer they debuted the online video series Dance(212) which gives insight into the lives of real dancers. The second season is just beginning and this time the 5 young dancers are college students studying dance in New York City’s top dance programs. You’ll have to stay tuned to see how things unfold for these dancers but it is sure to offer a window into life in the dance department.

Stay informed with Twitter: @Dance212

The Dance Advantage College Guide

Of course, I have to mention that here at DA, the college dance experience is a stone not left unturned. As a dance department alum myself, I’ve offered articles on how to select the right program and also plenty of useful tips which come directly from my first-hand experience. You can find contents and links by checking The College Guide. I’m also happy to try and answer any questions you have so feel free to contact me if you can’t find what you’re looking for on the site.

You can follow me on Twitter too: @danceadvantage

College Students,

Are you interested in writing about dance or your college experience? Dance Advantage is always looking for real dancers that can share their first-hand knowledge and observations. If you think you’d like to gain some writing experience and get published here on the site, learn more about the process here and contact me with your ideas!

En Dehors, Out the Door

Nichelle (admin) — Tue, 12 Jan 2010 13:00:48 +0000

: Image by Getty Images via Daylife

Frequently misspelled and endlessly confused, let’s go over these important dance directions!

There are typically two situations for which en dehors and en dedans are used in ballet and throughout most theatrical dance training.

When indicating the direction of rotation in a pirouette, or turn.
When describing the circular pathway of the leg in movements such as rond de jambe à terre or en l’air.

A bird’s eye view helps to illustrate the sometimes puzzling concepts:

En dehors

In dance, this term means outward. When turning, as the figure on the right above is showing, this outward rotation is relative to the supporting (sometimes called standing) leg. The dancer is thought of as moving “outward” toward whichever leg is lifted in the turn or, in other words, “away” from the supporting leg. Either way, the concept can be confusing for a new dancer. Sometimes thinking too hard about the explanation can confuse things further.

Wrapping one’s head around the idea of pathway is somehow easier. In rond de jambe à terre (on the ground), for instance, you would consider the pathway of the toe as it creates a semi-circle on the floor which, in en dehors, would trace from the front of the body to the back. When “working” or gesturing with the right leg, the action moves clockwise. With the left, counterclockwise.

Going back to pirouettes, it helps to apply this concept of pathway to the lifted knee. For pirouette en dehors, when “working” or gesturing with the right leg, the knee traces a clockwise pattern. When the left leg is lifted, the rotation is counterclockwise.

En dedans

As in right versus left, if it isn’t en dehors then it must be en dedans. Simply reversing the concept above will explain en dedans, which means inward in ballet. The toe in rond de jambe would begin to the back (or behind the body) and travel in a circular pathway toward the front. This time, when the right leg is working the toe orbits counterclockwise. The left moves clockwise from 6 o’clock to 12. Similarly, pirouettes with the right leg lifted rotate counterclockwise and visa versa when the left leg is up.

A few things to keep in mind:

It may help you to think of the knee drawing a circle around the axis of your body in your pirouette en dedans. However, be careful! In a classical turn, do not think of the knee as leading the body around. The leg must remain fully turned-out regardless of the direction you are turning.

Yes, this same terminology applies to fouetté turns, piqué turns (the most common of which are en dedans – read more on piqué turns here), turns à la seconde, grand rond de jambe, and rond de jambe en l’air. I won’t go into their explanations this time. If the concepts of en dehors and en dedans are not yet cemented in your mind, it is likely you aren’t ready to try all of these more advanced movements anyway!

The title of the post is an oft-used memory device reminding the dancer that en dehors means outward. Have you or your teachers used other tactics to remember the difference between en dehors and en dedans? Share them in the comments below the post!

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Oversplits – Overdoing It?

Nichelle (admin) — Mon, 07 Dec 2009 13:00:36 +0000

: Image via Wikipedia

In my post my last post, Stretching Safely for Splits, I promised to go into more detail regarding my thoughts on oversplits. If you aren’t familiar, these are splits that go beyond 180 degrees (above the hips) and are usually achieved by stretching in a split with the legs supported by pillows, blocks, or chairs. I’ll reiterate that I don’t feel that there is anything wrong with working to achieve oversplits. There are healthy ways to go about striving for or achieving this level of flexibility. There are also a few things that I think students should consider before beginning a regimen that will get them there.

Are they necessary?

With all the emphasis on flexibility it may feel as though an oversplit is your only answer to achieving a beautiful grand jeté or pencheé. However, dance requires a moving, active flexibility. While oversplits (or splits in general) increase your range of motion, they do not improve strength and stability. Often when students are struggling to execute these moving splits, they may have sufficient flexibility but lack control. An oversplit is not much good to someone who is missing crucial pieces of the puzzle. Take even a portion of the time and energy directed toward stretching and flexibility and replace it with conscientious application of technique during class. Moving through your range of motion in practice is the best preparation for achieving the leaps and pencheé of your dreams. Without good placement, attention to line, stability, and power, all you’ve got with an oversplit is a parlor trick.

Are they worth it?

Image by Rick McCharles via Flickr

If anyone has conducted specific research on the joint/muscle health of gymnasts or others who specifically train and work oversplits, I’d love to hear your thoughts! Based on my understanding of joint health, there is greater potential for damage to joints, ligaments, and tendons when it comes to oversplits. This is especially true if you are “hanging” in the split from two raised surfaces – this is not a healthy way of achieving your goal and I cringe whenever I see it. It is extremely important that someone working toward oversplits spend equal (if not more) time on strengthening and stabilizing the hips and core of the body. If you ignore signals that you are pushing too hard or too far, you may be hindering or halting any current progress you’ve made in your flexibility. You may even be sacrificing joint stability and overall joint health, perhaps ending your career early or causing problems later in life… for a few measly degrees.

“Once a muscle has reached its absolute maximum length, attempting to stretch the muscle further only serves to stretch the ligaments and put undue stress upon the tendons (two things that you do not want to stretch). Ligaments will tear when stretched more than 6% of their normal length. Tendons are not even supposed to be able to lengthen. Even when stretched ligaments and tendons do not tear, loose joints and/or a decrease in the joint’s stability can occur (thus vastly increasing your risk of injury).” – runtheplanet.com

“When muscles are stretched beyond natural voluntary ranges of motion, the muscles and tendons are stretched unnaturally. Excessive stretching damages tissues and promotes inflammation” – Yang, Im, & Wang, 2005

Are they desirable?

In many ways an oversplit could be considered an asset. Remember though that most dancers aspire to more than just moving through a series of static positions (at least I hope they do). They aim to convey and communicate as well as wow or inspire. Choreographers have this same aim when they create dances and in most cases would prefer a dancer who can offer more than just incredible flexibility. Even audiences want more from their dancers – after the initial “wow” wears off, especially. So, I’ll repeat that an oversplit is not much good to someone who is missing crucial pieces of the puzzle like performance, strength, intelligence, artistry, technique. I’ll also mention that there are those, particularly in classical ballet, that find overextended leaps, arabesques, etc. downright incongruous with the aesthetics of the art form and dislike seeing these slip into the choreography. While removing limitations in range of motion can free the body for expression, it is important to show restraint and mindfulness in displaying this kind of freedom.

What Do You Think?

Do you like to see dancers utilizing this skill onstage?

How do you feel about dancers (recreational, pre-professional, or otherwise) training for oversplits?

Some folks utilize the power of gravity for oversplits. I’ve shared my view on this. What do you think? Is there a “right” way and a “wrong” way to stretch for oversplits?

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Stretching Safely for Splits

Nichelle (admin) — Thu, 19 Nov 2009 07:51:33 +0000

Can you do “the splits?”

Image via Wikipedia

Splits are a topic on most young dancers’ minds. I know when I was a student the ability to sit in a split seemed pretty important. Of course, flexibility and range of motion are certainly fundamental elements in dance. However, when it comes to stretching and splits some dancers place intense emphasis on achieving the ideal static position, forgetting that this type of flexibility is only part of the picture. They compromise the health of their instrument – the body – as they push to extremes to get results, and get results fast.

How fast is fast?

When it comes to stretching, “fast” is a very relative term. Online I’ve seen students inquiring how they might achieve a split over one weekend. Those offering branded stretching regimens that promise or imply fast results are usually talking weeks or months, but most correctly point out that results will vary depending on a number of factors. What are these variables?

Image via Wikipedia

Joint anatomy and physiology
Elasticity of ligaments and tendons
Gender – While a male has the same potential for flexibility as any female, differences in bone structure, muscle mass, and chemical make-up, often mean that women generally encounter fewer obstacles in achieving a certain level of flexibility or range of motion.
Age – As with gender, the potential to perform a split is there no matter your age but flexibility declines in adulthood, meaning that maintaining or increasing the degree of pliancy requires more effort for an adult than a child.
State of mind – Don’t write off the degree to which your mindset plays a part – science doesn’t. Discoveries and investigation continues to determine the brain’s role in stretching, and several flexibility programs directly address the issue.

As enticing as improving your flexibility over a period of a few days or weeks sounds, research tells us extreme stretching methods and overstretching can be counterproductive to gaining flexibility.

How?

A mechanism called the stretch reflex sends signals to a stretched muscle, causing it to contract in order to limit lengthening and protect the muscle from tears. Entering a split too swiftly or aggressively strengthens the contraction, working against gains in flexibility (this is one reason ballistic stretching or bouncing is discouraged). Instead, easing into and holding a stretch is recommended. This maintains the length in the muscle to a point that it “gets used to” the increased length and respond by reducing the level of the reflexive contraction.

So the longer, I hold it the better, right? Actually, holding a stretch for very long periods of time (several minutes or longer) can cause damage to connective tissues, as does stretching without warming up the body. This damage requires time to repair and will actually slow progress in improving flexibility.

Are oversplits safe? Nothing is inherently wrong with working toward oversplits… gradually, progressively, just as you would work at achieving other splits. However, I would suggest proceeding with even more awareness and care. There are a few things I’d like you to consider when it comes to oversplits but look for these in their own post very soon.

When Is the Right Time to Stretch?

Image by ryangirlie via Flickr

I think it is pretty common knowledge among dancers these days that one should not stretch “cold.” However that habit of walking into a studio or green room and settling into our favorite stretch or straddle is a hard one to break. I’m guilty myself.

What you may not know is that there are different kinds or ways of stretching. A split is considered a static passive stretch, meaning you are holding a stretch using your body weight or some other external force (as opposed to a static active stretch, like lifting your leg in arabesque, during which the stretch is held using the agonist muscles). Rather than warming up with static passive stretching, it is recommended that you begin with dynamic stretching, performing movements that address a joint’s full range of motion. Some basic examples of dynamic stretching can be found here. These are a good starting point for a warmup but a dancer would likely want to continue with dynamic stretches that are moderate (or milder) versions of the work (in class or on stage) to follow.

The best time for splits or other static passive stretches are after the body has been completely warmed up. During cool down after a class, for example.

What are some signals that I’m overstretching?

If you’ve warmed up thoroughly and there is still pain, or
If you experience muscle cramps or spasms, you may be stretching too aggressively.
If you have pain during or immediately after the stretch, you may have a serious tear (you will usually feel some soreness from a minor tear the next day – if this occurs try to improve your warmup method). Tears usually result in some loss of flexibility. Light stretching can counteract this following a minor tear but be very careful not to overdo it.
It may go without saying that if you hear a sound, like a pop, while stretching this is not a good sign. Stop immediately, follow the RICE method, and see a medical professional.

How Can I Get My Splits?

: Image via Wikipedia

The answer isn’t exactly cut and dry. Everyone seems to have their own method and below I’ll point you to just some of the freely available and anatomically aware advice online. There are paid programs too but I can’t vouch for any of these because I’ve not tried them. Plus there are plenty of books on the subject. I welcome your thoughts on any programs or resources you’ve tried!

Splits and Flexibility Resources

How to Improve Your Flexibility Safely Into the Splits – Lisa Howell (Lisa also has a Front Splits Fast program)
Stretching and Flexibility – Brad Appleton
Working Toward The Splits – Atlanta Martial Arts
The Beginner’s Guide to Flexibility – Martial Arts Planet forum

Safe stretching is a huge topic with sometimes conflicting research. I couldn’t possibly cover it all in one or even two posts. The advice above, I hope, will help you determine if your current method or one you are exploring is a reasonably safe and healthy way to increase flexibility. Be wary of “too good to be true” claims and YouTube demonstrations from fellow students, please!

Introducing the Iliopsoas

Nichelle (admin) — Tue, 13 Oct 2009 22:10:18 +0000

: Image via Wikipedia

Ladies and Gentlemen, children of all ages!

It is my particular pleasure to introduce to you, the iliopsoas, a thrilling group of three muscles which are exquisitely fundamental to the function of the hip joint. As an indispensable stabilizer of the lumbar spine and pelvis, and the one and only muscle group that has within it a sufficient power to flex the hip joint and lift the leg above, with appropriate amazement, 90 degrees, it seems a gloriously gigantic understatement to call this muscle merely important. It is clear this wondrously complex muscle group not only deserves but demands your supremely scrupulous attention. I am outstandingly overjoyed to dazzle your eminently esteemed self with the following…

Okay, sorry to get all Barnum & Bailey on you. I promise the rest of this article won’t be nearly as dramatic.

Some of you, I would bet, have never even heard the term iliopsoas (ill-ee-oh-so-az) before. Meanwhile others of you have teachers who are devoted advocates for these miracle muscles but perhaps you still have questions. I’m going to try to answer some of the basic ones.

Why is the iliopsoas important?

The iliopsoas has a profound influence on alignment of the pelvis. Because of this it has a great affect on posture and coordination in dance. A dancer that moves smoothly and efficiently is utilizing the strength and stability of their center or core, of which the iliopsoas is an essential component.
The iliopsoas is the primary hip flexor for the leg when it is above 90 degrees. The coveted “extension” of professional dancers is powered (in part) by these mighty muscles.
The iliopsoas can be a source of injury in dancers who repeatedly perform movements which flex (crease) the hip joint. Strains in the lower back, snapping hips, and leg pain are known outcomes to an imbalance of movement patterns which can be caused when a dancer compensates for a tight or weak iliopsoas.

Let’s get something straight, through. The muscles which make up the iliopsoas play an important role in a few crucial components of dance. While increasing your awareness, understanding, and proper use of these muscles can have enormous benefits, please note that the muscles of the hip, pelvis, spine and upper leg are complex. No single muscle group could possibly be the root of or solution to all of the issues that arise in these areas. With guidance from a teacher who has a firm grasp on the power and function of this muscle group, however, your increased awareness has the potential to lead to those wonderful “ah-ha” moments which can change your dancing.

What and Where is the Iliopsoas?

: tilted pelvis in need of correction

The iliopsoas is the only muscle (well, technically group of muscles) that attaches to the spine, pelvis, and femur (or, thigh). There are three muscles which make up the iliopsoas. The iliacus, the psoas major, and the psoas minor.

Though it has some involvement in the “lifting” of the pubic bone to correct alignment, the psoas minor has been found to be absent in a large percentage of people (a bi-product it seems of our more sedentary lifestyles). The major players are the psoas major and iliacus. Psoas major is attached to multiple points along the lower spine. It then meets up with the iliacus, which is attached to the illiac fossa (For reference, when you put your hands on your

: Image via Wikipedia

“hips” you are placing them on the crest or upper rim of the ilium. The iliacus attaches to the inner, concave surface of this large, bony structure). The muscles then cross the front rim of the pelvis and the hip joint to attach to the lesser trochanter of the femur (thigh bone).

Lengthening and Strengtening

When standing, a person with a chronically short, tight iliopsoas will stand with hollowed or swayed arch to the back (which in turn limits turnout and causes other inbalances). Therefore a lenthened iliopsoas in important to alignment of the pelvis and health of the lower back.

Sometimes dancers are trained to engage muscles which are not necessary to hip flexion (lifting the leg) and this leads to a weak ilopsoas. Sometimes the iliopsoas is weak and stronger muscles take over to compensate for this weakness. Either way, practicing techniques that simultaneously strengthen and lengthen the iliopsoas are of benefit to dancers. In addition, making the most of the iliopsoas in your dancing will require visualization and awarenss of how this muscle functions.

How Can I Build Awareness?

The iliopsoas is a deep muscle, running very near the spine and beneath other major muscle groups. Therefore, awareness of the iliopsoas must come through visualization. You will not necessarily “feel” the muscles working and no single image will spark understanding in every dancer. Therefore it is extremely helpful to have a knowledgeable instructor that can guide you through this exploration.

First steps include locating the attachment points of the iliopsoas, visualizing the muscle that runs between these points, and analyzing how the muscle affects the bones and structures to which they are attached. Picture the muscle contracting from the center, moving the attachment points toward each other along the path of the muscle. How would this affect the leg? the spine? the pelvis? Now picture the muscle lengthening with the attachment points moving away. What are the affects?

As you move (in a deep plié, or as you lift or swing your leg), use your mind’s eye to transfer your knowledge to the moving body. Again, a teacher can help you discover and experience images that will help you to use the muscle with ease, fluidity, and power. These visual images may involve water, sand, strings, mechanics – anything that will help you engage the appropriate muscles and release the unnecessary ones.

As Young As You Feel

Nichelle (admin) — Wed, 30 Sep 2009 13:00:18 +0000

Image by StevenM_61 via Flickr

It is a pleasure to see people and programs proving that dance is not only for the young. I’ve come across a few examples recently and I wanted to share them with you. If you are an older adult and find these inspiring, let me assure you that it’s never too late to get moving… literally. However there are some things you may want to take into consideration before diving into dance.

“You’re not supposed to exercise just because you know it’s good for you. You exercise doing something you love!” - Huntley Hoofers and Hunks participant

DanceLifeTV recently highlighted The Hoofers and Hunks of Sun City Huntley, Illinois. The average age of an ensemble member is 60 years and features women and men who had never danced (or even dreamed of it) before joining the group. The video demonstrates director Sandy Oldham’s unconcealed passion for teaching, her student’s obvious love for what they are doing, and some great performance footage. The penguin routine is adorable and I love the nod to the dancing little old ladies from The Producers.

I can’t embed the clip here but head over to the Profiles & Features channel on the DanceLifeTV website and check it out. While you are there, don’t miss some of the other inspiring stories about dancers and educators who are making a difference through dance.

Dancing with the All-Stars?

The latest craze in the NBA seems to be dance teams composed of sassy seniors. The New Jersey Nets auditioned and brought together their own NetSational Seniors who perform hip-hop during half-time. A new documentary has come out chronicling the experiences of the original 13-member team. The film is showing in limited cities and festivals over the next few months. Check the Gotta Dance website to find a screening near you, or sign up to host your own. Meanwhile you can check out the clips on the movie’s YouTube channel. Here’s the trailer:

So You Think You Want to Dance?

If you are an older adult and want to begin dancing for exercise or for love of the art form, don’t let age stop you! Prepare yourself for what is ahead and be smart and safe by following a few basic guidelines.

If you are over 50, have a disease, disability, are taking medication, or have other concerns such as high blood pressure, arthritis, or dizzy spells, check in with your doctor to evaluate your physical condition and keep an eye on your progress once you’ve begun taking class.
If you have been inactive, begin slowly. Don’t push too hard and choose a teacher or class that includes an adequate amount of time for warm-up and cool-down (10 to 15 minutes for each).
There is a learning curve. It will take some time for some basic movements to begin to feel second nature. Be patient with yourself.
Bring a buddy if you are feeling nervous or need a little extra incentive to get moving on a regular basis. The social aspects of dance are one of the many important benefits for older adults.
Wear supportive and comfortable attire (particularly shoes).
Always listen to your body. Pay attention to any discomforts or unusual symptoms you experience. And don’t be too hard on yourself if you need to ease-up or take a break.

Guest Post: The Professional Dancer’s Survival Kit

Guest — Mon, 28 Sep 2009 14:00:13 +0000

Do you have an interest in taking your dancing to the professional level?

Our guest post today is by Ashani Kiner, an experienced dancer, teacher, and business owner. She is offering sound advice for those who wish to pursue a career in dance.

Here are some inside tips on what you need to survive in your career as a professional dancer:

1. Realistic Expectations

If you think that because you were the strongest dancer at your local dance studio, in your high school, or anything along those lines, that you will automatically be highly sought after as a professional, you will get a pretty harsh reality check when you see some of your competition in the professional dance world. My advice is, know your strengths, and always play them up, along with your uniqueness as a dancer. Additionally, learn your areas of weakness, and work tirelessly on getting stronger in those areas. Understand that there will be auditions and jobs that you simply won’t get based on politics, type-casting, or other non-personal reasons, so you must develop a tough skin in order to survive.

2. Professional Photos/ Resume

This goes without saying. Presentation is everything, so don’t scrimp on your photos. Save up the money you need in order to get professional photos taken. Also, make sure that your resume is in the proper format for performing arts resumes, which is different from the format for a regular job resume.

3. An Education and Other Non-Dance Related Skills

I have a Bachelor of Arts in Dance, and after having that experience, I highly recommend getting a college degree. I also have a B.A. in Hispanic Studies, as I always wanted to have something else to fall back on, in case I ever got injured or something, and could no longer dance. Maybe college isn’t for you, or you can’t afford it. Finish high school, in the least, and involve yourself in professional internships, or other jobs, to develop your skills, and build a professional resume. This will not only help you to have a more successful career as a professional dancer, but it will allow you to have more options when you’re in between dance jobs, or still building your dance resume.

4. An Emergency Fund

Financial pressure is real! Unless you’re living at home with Mom and Dad, or have someone sponsoring your daily living expenses, you’re going to need money to survive. Most importantly, with the many inconsistencies in this business, you will need to have some serious savings to carry you through the slow times and unexpected emergencies. Not to mention, to free you from doing “anything” to make a quick buck, because you’re desperate for money. That’s never a good frame of mind to be in.

5. A Support System

Whether it’s your faith, your friends, or your family, you will definitely need some support outside of yourself from time to time, when you don’t get that job or audition that you really wanted. Or, for those days when you look at your bank account, or how hard you’re working, and wonder if it’s all worth it.

Plus 3 More Survival Tips:

A Healthy Lifestyle — It is very important to eat healthy and stay in shape. You want to be ready at any time for great, unexpected dance opportunities.
A Habit of Learning and Growing – From taking dance classes regularly, to learning from online videos/classes, or simply working on your skills/choreography in your home, you must continuously strengthen your skills, feed your creativity, and challenge yourself.
Tenacity, Persistence, and a Positive Attitude — The only true failure is giving up. Don’t let rejection, other people’s success, or a longer road to your dreams than you expected, get you down. Nothing worth having comes easily. You must fight for your dream, and know that everything happens for a reason. The path that is for you, is specially-made for you only. So, don’t focus on others, on your obstacles, or setbacks, focus solely on being and doing your best in all that you do.

Ashani Kiner, a New York City native, graduated from Connecticut College with a Bachelor of Arts in Dance. She has 20 yrs of experience in the dance industry and has trained, taught, and performed at the world-famous Alvin Ailey American Dance Center and Steps on Broadway in NYC. She has also taught at Ballet Hispanico, as well as numerous NY Metropolitan area dance studios, public and private schools, and non-profit arts organizations.

She is also the president and CEO of Kiner Enterprises Inc., the first dance teacher staffing agency in the U.S. They provide dance teachers in all genres of dance, with credits ranging from former Alvin Ailey American Dance Theater company members, Broadway and Broadway tour performers, dancers and choreographers for recording artists such as, Ashanti, Beyonce, Kat DeLuna, Hannah Montana, and Snoop Dogg, as well as the Knicks City Dancers, and dance companies including, The Metropolitan Opera Ballet, The San Francisco Ballet, and Complexions.

Follow Kiner Enterprises via Twitter or become a fan on Facebook

Ballet — Its Origins and History

Nichelle (admin) — Tue, 22 Sep 2009 13:00:55 +0000

Previously on this site, I’ve added my own highly condensed history of Modern Dance. More like a written family tree, it describes the path modern dance has taken over the last one-hundred years.

When it comes to summarizing the origins and over-500-year history of ballet, there are already resources online which frankly have it covered. I’m going to direct you to some of these below but first, allow me to offer the following super-abridged description of the origins of ballet as a starting point for continued investigation.

Ballet as we know and recognize it in the 21st century had its beginnings in the extravagant entertainments of Italy’s royal courts during the Renaissance. Italian by birth, Catherine de’ Medici, queen mother to three kings of France brought these ballets de cour (court ballets) to the French Court. She commissioned the Ballet Comique de la Reine (1581), which was choreographed by Balthasar de Beaujoyeux and is credited as the first ballet because it had a central story around which sets, costumes, and music were built. Ballets de cour peaked during the reign of Louis XIV, who was passionate about dance and its artistry. He worked directly with composer Jean Baptiste Lully and choreographer Pierre Beauchamp and, throughout his reign, often appeared as the central character in court ballets, most notably as Apollo, god of the sun.

Ballets de cour were typically performed in grand halls or ballrooms. The male performers (women at this time did not dance in the ballets) were usually masked and lavishly costumed. The movements were based on social dances of the time such as the minuets and pavan. In 1661, The Sun King (Louis XIV), established the Académie de Danse in Paris. It was in 1681 that ballet’s first female dancer, Mlle. LaFontaine made her debut. In 1670 Louis XIV retired from performance. It was at this point, as the training of professionals had been securely instituted, that ballet began to separate from the courts and moved to the stage. With this development came evolution. Performing in a proscenium environment necessitated more side-to-side movement, increasing emphasis on turnout of the legs. As a result of their training, professionals were able and encouraged to include jumps and leaps in their repertory of movements, and master teachers began writing and documenting ideals for form and execution which developed into the techniques we apply today.

Dance Little Sister — Working With a Younger Sibling

Nichelle (admin) — Wed, 16 Sep 2009 13:00:06 +0000

If you have a younger sibling, it’s bound to happen at some point – you’re performing with your kid brother in a talent show, Mom and Dad want you both to put something together for Great Aunt Matilda’s 80th birthday, or (yikes!) you are the assistant in your sister’s dance class and have been ordered to help her…

: Image by quinn.anya via Flickr

dum

DUM!

PRACTICE.

As the older sibling, you’ve somehow been put “in charge” of getting results from the last person on earth who would want to listen to a word you say (except, of course, unless you’ve uttered a reportable offense for which you’re sure to be punished). So, how do you get the kid to cooperate?

When it’s time to work, don’t tell her. Just bring a CD player, iPod, or whatever to a place where she is nearby. Turn on the music and start working on or doing the dance yourself (don’t even acknowledge her at this point). If it looks fun (or maybe just because deep down she really does idolize you) she may want to join you or help.
While practicing, let her be the expert. Ask for her creative input, resist putting down ideas you don’t like and actually put them in the dance. If you are rehearsing, you might pretend to mess up on parts she already knows or “forget” and ask her what the next step is. Or, let her guess what comes next on parts she’s less familiar with. Even if it’s way wrong say “good guess but actually it’s this!” Make it a game – it’s okay if she knows you are pretending, if it’s silly enough she’ll probably play along anyway.
Offer incentives. Perhaps you have a goal in mind for how much more you want to accomplish today – perhaps three more steps, or 16 counts (Remember the younger your sibling, the shorter her attention span is likely to be). No, do not offer cash as a bribe. Try something like “Guess what? If we learn three more steps today, mom says we can put on a show for her!” If you’re not at the end of the dance, let her know that when she finishes with the parts she knows, she can dance however she likes until the end of the music. The excitement or possibility for positive attention from an “audience” or getting to do things her way may even carry her beyond your original goal. But, if all you get is three more steps, well, at least you got that far. Don’t push her to do more.
Don’t try to beat her, join her. Being bossy and controlling will not work. Forcing her to comply using threats because you’re bigger or older or more experienced will only be frustrating for both of you. Allow yourself to have fun interacting with your younger sibling. Try to be patient, funny, and energetic and you’ll see better results.

: Image by The People’s Tribune via Flickr

Acknowledge achievement. When she does go along with you, remembers a step, or show that she’s eager (even if it is just a little bit), be sure to acknowledge her. “Thanks for watching so closely, you really got it that time!” or “You remembered the kick! Wow, you’re really working hard!’ It may sound silly but, saying thank you rather than good job is more effective. And, focusing on what she did, or the work she puts in is more effective than focusing on how beautiful she is when she does it right or how good she’s being for listening. Being pretty or good (something she already is, or can be, without much effort) isn’t usually enough to keep her dedicated to the task. She’ll more willingly put in time, creativity (and do what you want) when you show appreciation for her efforts, no matter how small.

I’ve used “her” in this example just to keep things simple. Believe it or not, this stuff can work for brothers too. Not knowing your sibling very well, I can’t say what will specifically work for you. You may have to get creative! But these are the keys to success:

make it FUN
ASK rather than tell (let her be the teacher, quiz her, or find out what she thinks)
offer logical REWARDS for getting the job done
do it TOGETHER (no bossing)
and say THANK YOU!

Back to School 2009 — Student Edition

Nichelle (admin) — Sat, 15 Aug 2009 14:00:39 +0000

Hope you had a wonderful summer! Did you do some dancing? Are you excited for the dance season to begin (or has it already)? Here are some past Dance Advantage posts that will help to prepare you for the year ahead.

Getting Your Head in the Game

Strengths and Weaknesses — We’ve all got ‘em! Read how to make the most of yours!
I Can’t! — You CAN overcome the I Can’ts. Don’t miss this one!
7 Ways Dance is Like Learning the ABC’s — I challenge YOU to come up with the 7th!
Approaching Your Teacher or Studio Owner — You don’t have to be proposing something BIG to make use of these ways to suggest your ideas to a teacher. Let your voice heard in a way that will make your teacher want to listen!

Choreography

Performance

Pretty Self-Explanatory!

More, more, more!

Tune up your Technique

There are articles and how-to’s in our Toolbox about turns, jumps, strengthening exercises, common corrections (like sickling) and more. Looking for something specific? Do a keyword search on the home page!

Brush up on Vocabulary

Confused or need to know more about the terminology used in your classes? Click the image below for related posts or do a search!

College Students

Check out the College Guide Series!

How and Why to Strengthen the Inner Thigh

Nichelle (admin) — Wed, 05 Aug 2009 13:00:12 +0000

Photo by Donna Winton

Teachers often emphasize the use and strengthening of the inner thigh in dance. It is not necessarily because this muscle group is more important than others. In fact, stressing the significance of this muscle group too much can cause confusion about what these muscles actually do. Creating further confusion, I believe, is that the hip joint is well… complicated! A web of muscles participate in creating movement on every plane – rotation, flexion and extension, abduction and adduction are all possible at this joint where the pelvis and femur (thigh bone) meet.

I’m going to try not to get too technical. Let’s concentrate on two important things that muscles of the inner thigh do: stabilize outward rotation (turnout), and adduct (or pull the legs together or toward the center line of the body). If you think about your dance or ballet training, perhaps you can already see why your teacher might consider the inner thigh muscles worthy of attention.

Strong inner thigh muscles help a dancer to maintain turnout in standing and some help when the leg is lifted in turnout. It is a general misconception that these are active rotators in turnout. Instead the inner thigh muscles (or more specifically those that adduct and outwardly rotate) stabilize and support the rotation which the six deep rotators work to achieve. Strong adductors (which make up what we consider the inner thigh) also allow the dancer to be quick and agile particularly in movements which beat or require a quick closing of the legs. From tendu to grand battement to assemblé sauté to entrechat quatre, a quick and precise sort of strength is necessary for ballet as well as many other dance forms.

Students often mistakenly think that targeting this muscle group with strengthening exercises will suddenly improve the height of their extended leg, or the speed of their battu. The truth is, that the best way to strengthen these muscles is through conscientious and consistent working on technique.

Of course, doing a bit of additional, focused work can certainly encourage awareness and therefore improvement of technique and strength. Therefore, I am including some exercises that may help you develop such an awareness of the various muscles in your inner thigh. These can be used to target muscle groups for strengthening, should you be particularly weak in this area or tend to overwork the quads and gluts (not uncommon in dancers). However, talk with your teacher or physiotherapist to decide if you really need to begin a regimen. Overall, I suggest you use these exercises to learn and discover information that you can then use in your daily/weekly classes.

(You don’t necessarily need a ball for the exercise above, just about anything will do. This demonstration is done with a tennis shoe – click here)

Please note that I do not endorse or sponsor any of the above websites or programs affiliated with these videos. They simply provided good visual examples of the exercises.

Additional exercises:

Lie on your back with the feet lifted to the ceiling. The legs are in a turned out first position and pointed. From here open the legs wide to a straddle position and then close together while flexing the feet. The movement should be controlled and smooth in both directions and done in a series. You might also add beats, etc.
Create a small loop with an exercise band (Theraband) and place it around your ankles. Stand in first or fifth position and tendue or point the leg in any direction (front, side, or back). Execute small lifts of the leg (make sure you are properly turning out both the working and supporting leg and lifting tall through the body – if you aren’t sure, do this exercise only in the presence of your teacher so that corrections can be made if necessary). You could also try rond de jambe or other small battement.

Do you have a great inner thigh exercise (or awareness builder) to share?

How NOT To Ask a Question in Dance Class

Nichelle (admin) — Wed, 08 Jul 2009 13:30:17 +0000

1. Wait until your teacher is telling or showing something very important to the class and then ask your question.

2. Stand practically on top of your teacher, pull on her clothing, and speak very loudly until she acknowledges you.

How does it feel when your little brother interrupts you while you are telling your mom about something really important? Does it make it harder for your mom to make sense of your story? What about when he insists on poking at you while you are trying to do your homework? Does it distract you from what you were thinking? Does it upset you that your brother feels what you have to say or do is not important?

Photo by Romain Guy

(If you don’t have a younger brother like I did growing up… you are lucky (kidding)… try to imagine what it would feel like if a friend or classmate did these things while you were trying to speak or work).

Your teacher feels the same way when she (or he) is interrupted while sharing important information or trying to focus on running the class. So, pick an appropriate moment to ask your question or get her attention. It may be hard to recognize a good moment to ask your question if you are standing too close to your teacher. It is also likely that you’ll distract or annoy your teacher so much that she won’t answer at all.

An example of an appropriate moment would be when your teacher asks if there are any questions. If she doesn’t ask this, perhaps after she is done speaking you could politely get her attention (by raising your hand, for instance). Or, perhaps it could wait until after class. It takes practice to learn where those “right moments” are. Most teachers try to be very patient while you are learning this skill.

Remember, before asking your question…

Think about how it feels to be interrupted and decide if now is the best time
Raise your hand, or politely say your teacher’s name… once, maybe twice if you aren’t sure she heard
If you need help use “please.”

And don’t forget to say “Thank you” when your teacher answers, explains, or helps you!

If there is an emergency

emer·gen·cy
1 : a sudden, urgent, usually unexpected occurrence or occasion requiring immediate action
2 : an urgent need for assistance or relief

Emergencies in dance class usually include a sudden injury (or someone is about to be really hurt – bleeding or broken bones), an unexpected feeling that you are going to throw up, an urgent need to go to the bathroom… or else!

Your classmate playing with your ponytail while in line is not an emergency situation. Instead of telling your teacher when someone else is not following the rules (tattling), try to tell your friend how their actions make you feel (“I feel frustrated when you play with my ponytail while I am waiting for my turn. Please stop.”) Your teacher probably won’t do anything about the problem until you’ve tried to resolve it yourself with words, anyway.

Your uncomfortable leotard does not need immediate attention. This is unfortunate and must be dealt with, but it is not an emergency. Even needing help with a difficult dance step is not an emergency. None of these things need to be handled right away while your teacher is busy talking or leading the class. These can be dealt with at an appropriate moment (when your teacher is done talking, when your parents pick you up, after class, for example).

Be wise about what you decide is an emergency situation. If you “cry wolf” too many times your teacher is less likely to respond quickly (even if there really is an emergency).

If there IS an emergency — Call out your teacher’s name or get their attention as best you can (even if it means interrupting). If you think you are going to be sick or have an accident right now, just go. Your teacher will understand.

If it is not about dance… Save It!

You can always tell your teacher about your new puppy after class. It is hard to wait when you remember in the middle of class, but your teacher will more fully appreciate hearing about it when she is not busy with other things.

If it is not really a question… Save It!

Unless it is an emergency, or specific to what you are working on that very moment in class, your thoughts can probably wait until… you guessed it…

an appropriate moment!

http://www.flickr.com/photos/leslieduss/ / CC BY-ND 2.0

College Days Ahead? Don’t Miss “College Parent Central”

Nichelle (admin) — Sat, 13 Jun 2009 14:00:57 +0000

I’ve provided a series of posts on Dance Advantage that provide prospective dance majors and minors with necessary tools for navigating within the dance department. CLICK HERE to visit The College Guide.

Photo by Amanda

The transition to college, however, is a significant one. Therefore, I’d like to share a new resource called College Parent Central. As the blog name indicates, its focus is on arming the parents of college students with the tools they need to assist their college student. The information within, though, is just as relevant for students who wish to prepare themselves for what lies ahead.

Here are just a few samples of what you’ll find there:

The Course Syllabus: Roadmap to Success
Summer Preparations For Your College Student’s Transition to Freshman Year
Should My Student Consider Deferring Enrollment for College?
What Should My College Student Consider When Choosing a Schedule of Classes?
College Students and Credit Cards
Should My College Student Have a Car on Campus?
Discussing Campus Safety With Your College Student

Enjoy exploring the site!

College students, are there websites or blogs you would recommend to others about to head off to college?

Dance Advantage » For Students

9 Tips for Improving Pirouettes

Food For Thought:

Related Posts

Current Sponsors

Developpé Dilemma: Deb Vogel Addresses a Reader Question

Amy’s Question

Here is what Deborah had to say to Amy:

Related Posts

Answers to Your Questions About College Dance

Prospective college students have a lot of questions!

DanceU101

Dance(212): the college years

The Dance Advantage College Guide

More College Links

College Students,

Related Posts

En Dehors, Out the Door

En dehors

En dedans

A few things to keep in mind:

Related Posts

Current Sponsors

Oversplits – Overdoing It?

Are they necessary?

Are they worth it?

Are they desirable?

What Do You Think?

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Current Sponsors

Stretching Safely for Splits

Can you do “the splits?”

How fast is fast?

How?

When Is the Right Time to Stretch?

What are some signals that I’m overstretching?

How Can I Get My Splits?

Splits and Flexibility Resources

Related Posts

Introducing the Iliopsoas

Ladies and Gentlemen, children of all ages!

Why is the iliopsoas important?

What and Where is the Iliopsoas?

How Can I Build Awareness?

Further Reading

Related Posts

As Young As You Feel

Dancing with the All-Stars?

So You Think You Want to Dance?

Related Posts

Guest Post: The Professional Dancer’s Survival Kit

1. Realistic Expectations

2. Professional Photos/ Resume

3. An Education and Other Non-Dance Related Skills

4. An Emergency Fund

5. A Support System

Plus 3 More Survival Tips:

Related Posts

Ballet — Its Origins and History

Further Reading

Five “nutshell” portraits of the origins and history of ballet:

Texts for digging deeper:

Watch this on YouTube:

Please Note: If you are here looking for info to use in your homework, term paper, etc., please review some of the articles and resources found at plaigiarism.org. These resources are provided by myself and others to inform and educate and should be properly cited in your work.

Related Posts

Current Sponsors

Dance Little Sister — Working With a Younger Sibling

PRACTICE.

Related Posts

Back to School 2009 — Student Edition

Getting Your Head in the Game

Choreography

Performance

Pretty Self-Explanatory!

More, more, more!

Tune up your Technique

Brush up on Vocabulary

College Students

Related Posts

How and Why to Strengthen the Inner Thigh