Robin Mahboeb is one of these teachers. The word that’s always come to mind regarding Robin (@mahrobi) is classy. She proves it with these choices…

Robin’s Top Three Books For Ballet Teachers

1. The Art of Teaching Ballet – Ten Twentieth-Century Masters

by Gretchen Ward Warren

Robin says, “This is my easy favorite! The author spends time with ten of the most popular professional ballet teachers from around the world, watching classes and doing interviews. There is a chapter devoted to each teacher which starts with a short bio, followed by the authors’ experiences in observing the teachers in the studio and out. At the end of each chapter there is a list of quotes, a list of the order of barre and center combinations and a family tree style chart of pedagogical lineage.”

“I love this book,” continues Robin, “because it doesn’t just give combinations (though there are combinations from each teacher listed at the end of the book). It really brings insight on teaching artistry and simple joy of movement as well as tips on teaching turns and jumps, etc. Additionally, it is a fascinating read; the first time i read it i could hardly put it down.”

The Art of Teaching Ballet is available for purchase through the Dance Advantage aStore

2. Ballet Studio – An Inside View

by Anne Wooliams (coincidentally one of the teachers interviewed in the previous book!)

“This is a book i received as a gift in my late teens and i find it as wonderful now as i did nearly 30 years ago. It is a book that can be appreciated by teachers, students and professional dancers alike,” explains Robin. “There are chapters dedicated to practice clothes and health as well as barre and center work, pointe, mime, musicality, teaching and more. The author writes with warmth and humor, offering advice as well as the occasional ballet combination. The excellent text is accompanied by beautiful, candid, grainy black and white photographs.”

This book is out of print. Check out Goodreads to compare sellers.

3. Classical Ballet Technique

by Gretchen Ward Warren (again!)

“This book i find to be an excellent tool for teaching correct ballet technique as it breaks down all the steps photographically. There is little text but very clear photos of the positions one should go through in executing each step. It also frequently shows the difference between, say, the Russian version of a step vs. Cecchetti, for example. In addition, there are pictures showing incorrect vs. correct placement or execution. I like to keep this book in the classroom and may occasionally show my students what a new step is supposed to look like.”

Classical Ballet Technique is available in the Dance Advantage aStore

More About Robin

Robin grew up in Colorado. Her early training was Cecchetti technique under Larry Boyette. She majored in dance at the Cornish Institute of Arts in Seattle, Washington under Franks Bays and Pat Hon and also trained in New York with Maggie Black. Robin has performed with several small companies but left the dance world temporarily to raise a family. She has 4 children between the ages of 8 and 20 and has been teaching ballet for about 15 years – “off and on a bit between kids!” For the last several years Robin has been teaching in Bergenfield, New Jersey at Nunnbetter Dance Theatre and choreographing for NBDT’s student company.

Do you have some favorite books for ballet teachers you’d like to recommend?

Let us know in the comments!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 2 comments | Category: Ballet/Pointe, Blog, Dance Library, Dance Styles, For Teachers/Studio Owners, In the Spotlight, Toolbox

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Ready or not, this is exactly what Sokvannara Sar accomplished, with more than a little help from a few tireless supporters. The wholly unique circumstances of his still-unfolding life illustrates the universal hope, struggle, and sacrifice of all dancers.

Singled out in Cambodia, where he was a poor boy with a hunger for his homeland’s traditional Khmer dance, Sar’s strenuous metamorphosis as he is whisked into American culture and the world of ballet is documented in the new film Dancing Across Borders. Known as Sy (pronounced like ‘see’), the documentary’s subject overcomes nearly impossible odds. Yet, unlike many dance stories, Sy himself is not the dreamer. He did not choose ballet. In a way it chose him via longtime ballet devotee and philanthropist, Anne Bass.

Bass is in fact the director of this film, though like Sy this is a role she never really intended to play. Her entwinement in Sy’s development is so great, however, that it is perhaps only fitting that she be the one to tell his story. While visiting Cambodia with the World Movements Fund in 2000, Bass discovered Sy at a dance recital at Preah Khan temple. Enthralled with Sy’s presence and raw talent for performance, Bass made a naively bold move and invited Sy to come to America, where she would be the benefactor for his study in ballet at the prestigious SAB school. Not bargained for was the uphill battle of this endeavor. That classical Cambodian dance bears little technical resemblance to classical ballet, that Sy would require intense and grueling coaching by an unshakable and steadfast believer in his abilities (found in Olga Kostritzky) before SAB would accept him as teachable, that isolated by barriers of language and culture Sy’s exuberant personality would wane for a while, and that he would remain uncertain of his future in ballet even beyond the film’s frame, were unexpected challenges.

Dancing Across Borders isn’t without some clunky moments of exposition and may dwell too long on achievements that mean little to anyone unfamiliar with ballet. However, Bass earns respect as a first-time filmmaker in taking on this open-ended narrative. Able to shape the documentary herself, she might have painted a triumphal picture of the American dream personified and, I suppose, some may still interpret it this way. Amazingly, however, Bass resists a Cinderella telling and provides, with ample footage of Sy’s progress, an unflinching glance into the rigorous training and hard-won rewards of ballet. She also does not shy away from Sy’s inner conflict as a young man trying to reconcile two worlds, two cultures, and find his place within each. She underlines this at one point in the film with Joni Mitchell’s “Both Sides Now,” poignant as ever in the language of the Khmer people. Ultimately Bass’s ability to place Sy’s heroism and the strength of the Cambodian people at the heart of the story effectively conveys that hope is boundless.

Shakespeare’s line, “Be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon them,” comes to mind when considering Sy. His achievements are a reflection of those who believed in him, and like a beam of light hitting this mirror, his trajectory was altered when Anne Bass recognized his inborn greatness, a combination of qualities shared by all true dancers: a buoyant spirit and irrepressible courage. That’s why Dancing Across Borders, the depiction of Sy’s journey across the frontier of ballet is a tale for and about dancers everywhere.

New York’s Quad Theatre has extended its screening of Dancing Across Borders through April 15. Additional screenings will take place throughout April and May in cities throughout the U.S. Details can be found on the Dancing Across Borders website.

Discussion Questions

Dancing Across Borders is scheduled for release on Amazon.

Click here to preorder

This documentary provides some interesting food for conversation on ballet and culture. Teachers, dancers and parents, whether you see the film or not, here are some questions and exercises for reflection…

1. What unique qualities must a person have to succeed as professional dancer? Are these qualities different for ballet versus other dance forms?
2. Performers are often said to have “it.” What is “it” and must you be born with this quality?
3. What are the risks and sacrifices of a career in ballet? What are the rewards?
4. Is it ever too late to begin a professional career in ballet?
5. Imagine what ballet looks like to someone who has never seen it before. Can you describe or write about what this person might see, hear, and feel?
6. Describe a time when you felt out of place and and homesick. What, if anything, helped you to overcome these feelings?
7. Intense one-on-one training, receiving instruction and speaking through interpreters, learning an entirely foreign and difficult movement discipline… Physically and emotionally, the first few months of Sy’s training must have been almost torturous. Why do you suppose he never gave up?
8. How important is it to have people in your life who believe in you? Is it more important than belief in yourself?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | One comment - ADD YOURS! | Category: Blog, College and Career, Dance Companies, Dance Library, Dance Media, In the Spotlight, The Dance World, Toolbox

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What’s in a name?

PI – for Pilates. YO – for Yoga. LET as in Ballet. PIYOLET is a low impact fitness regimen for all ages, designed to diversify and keep the mind, body and soul refreshed and fit.

Creator Roslyn Bazzelle has been dancing since she was a young child. She continued her studies at Hampton University while getting her bachelor’s degree and then went on to study law here in Texas. She is a certified group fitness instructor with training and certifications in Yoga and Pilates. In addition to producing and directing her own fitness DVDs for the PIYOLET program she’s developed, Roz is a singer, songwriter, and a practicing attorney in the areas of real estate, corporate, and entertainment law. Believe it or not, she had a moment free to talk to Dance Advantage about dance, fitness, and source of her tireless motivation.

Dance Advantage: You are a busy lady! Why has it been important to you (or what drives you) to pursue growth and development in so many different areas?

Roslyn Bazzelle: To someone else, they appear to be completely different and so far apart, but, for me ….. they are all connected and allow me to serve my purpose on this earth. Growing up I was always involved in different activities. My mother figured if she kept me busy, she would keep me out of trouble (smiles). Piano for 11 years. Dance for 13 years. Choir in church and school, for as long as I can remember. All while maintaining good grades. Mom was a teacher so I had to represent well in school! Initially, I had a one-track mind – law – once I got out of law school in 1999 but, after practicing a few years, I found that I needed to be more and do more to live the life God planned for me. As a lawyer, I assist businesses and individuals with their legal needs. As a fitness instructor, I help individuals create a stronger and healthier body. As a singer I hope to motivate others to get through whatever situation or issue they are dealing through the joy of song, and I just fell into the production side of the fitness business through my creation and development of PIYOLET.

DA: Tell us a bit about your experience with dance growing up and what discoveries you made in your transition to college with the study of modern dance.

RB: Dance was a wonderful and amazing outlet for me to grow and learn. It was not just about the routines and choreography. It was the people, the students, the environment, the recitals, the teachers, the discipline — the experience over-all was such a huge part of my life growing up. I wouldn’t change a thing! I have to applaud my mom for selecting dance studios with directors and instructors who were kind, beautiful (inside & out) and who cared about ALL of the students. Transitioning to Modern was a little hard at first due to the structure I was used to, but, I found it invigorating and it really opened my eyes to the freedom you can have as a dancer.

DA: Why are Yoga and Pilates worthy, and perhaps essential, companions for dance technique?

RB: Yoga and Pilates, in my opinion, are absolutely essential in advancing a dancers technique and skills. The basic elements of Yoga allow you to grow mentally, spiritually, and the benefits to your body are phenomenal! Pilates is simply one of the quickest and easiest methods to strengthen your core which helps you with everything you do, whether you are sitting, walking or dancing, Pilates can take your body to the next level.

DA: Your DVD is for all ages, but what about skill level? Would even experienced dancers feel challenged by your DVD?

RB: The Original PIYOLET DVD was created for intermediate to advanced level dancers and fitness enthusiasts who were currently taking my Pilates and Yoga classes. I have received comments from personal trainers, dancers and fitness professionals who enjoy my workout and were absolutely challenged. After receiving many inquiries from those who had zero experience or training in Yoga, Pilates or Ballet, I decided to film the Intro to PIYOLET DVD a beginner level workout which is now available for purchase. The third addition to the PIYOLET DVD series is Body by PIYOLET which is the second level to the original PIYOLET DVD, and allows those who are experienced with PIYOLET to enhance their skills.

DA: How is PIYOLET different from other fitness fusion programs?

RB: PIYOLET is different because, it combines Pilates, Yoga & Ballet in a unique way which does not require a leotard, fancy footwear, a barre or any specific equipment. PIYOLET was created to allow people to experience and learn sequences and poses based on a combination of all three formats and gain the benefits, which include, core strength, improved posture & balance, flexibility, lean muscles and mind, body & spirit integration.

PIYOLET Giveaway!

THREE Dance Advantage readers will win a PIYOLET workout DVD. Winners may choose one of the following to add to their workout library: Intro to PIYOLET (beginner level), Original PIYOLET (intermediate), or Body by PIYOLET (advanced).

This giveaway is now closed! Winners announced soon!

How to enter

If you are in the U.S. and 18 or older, place a comment on this post. That’s it! The three winners will be randomly selected via random.org. Please make sure you use an email address at which I can contact you should you be a winner. The giveaway will close to new entrants at Midnight on Sunday, March 28. The winners will be drawn and will have 48 hours to respond and claim their prize. If you have questions, check our giveaway policy.

Wasn’t that easy?

You can follow Roslyn on Twitter or become a fan of PIYOLET on Facebook. Doing so will not affect your entry in the contest, however, let’s thank her for offering DA readers a chance to win!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 19 comments | Category: Blog, Dance Library, Dance Media, Giveaways, In the Spotlight

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“Finding good ballet class music is so difficult. I am hard to please, and I want the music I choose to inspire my students, not just provide accompaniment. To that end, I have gone through a lot of CDs searching for ones that have good length, sound and quality. I use these CDs for my intermediate adult ballet class. I find that they truly appreciate it if you take the time to select pretty music that makes them feel like they are dancing—even at the barre. The CDs would also work very well for younger, more advanced students.”

Catherine’s Top Three:

1. Between The Barres 20th Anniversary Edition

This is one of my top picks in terms of barre music. There are quite a selection of tracks available, and most are long enough to do at least two sets of the exercise. Plus, it’s a 2-CD set, and both are excellent. Worth the investment.

2. Russian Music for Ballet Class Vol. 3

Although for me it is difficult to use this CD to do a complete barre and centre, I still am in love with many of the tracks for the sheer beauty of the music here. Track one is my favourite. The whole CD is lovely, and moving. Terrific for inspiring students.

3. Music for Ballet Class IV

I was sent this CD to review recently and was surprised at how much I enjoyed it. It is a departure from the typical fare out there, but not so much that it is difficult to use for class. The tracks are quite pretty and unexpected. Great if you are experiencing music burn out from your usual lineup.

Do you teach adult ballet?

What are your Top Three?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 3 comments | Category: Ballet/Pointe, Blog, Dance Library, Dance Styles, For Classroom, For Teachers/Studio Owners, In the Spotlight, Music, Toolbox

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This giveaway is now closed. Winners have been contacted!

The holidays are coming and I’ve got a gift for you!

‘Tis the season for giving, and giving big. So this time I’m bundling four great giveaway items. Each one presents a unique strategy for inspiring children to investigate different movement forms, including ballet, creative dance, and yoga. Great for families OR teachers, these products encourage creative ways for kids and adults to explore movement together and are sure to spark a child’s interest in the physical practice, art, and delight of moving.

TWO lucky readers will win the “Let’s Get Moving!” package which includes the four products featured below. Parents, teachers, all are invited to participate. All that is required for entry into the contest is a comment on this blog post. Scroll down for additional details.

Up, Down, and All Around

Up, Down, & All Around is structured like a creative movement class and feels very much as if creator Stacey Pepper Schwartz is leading a class in your living room. Over a period of about 30 minutes, Stacey directs her participants and viewers through warm-up, fundamental skill practice and movement exploration. She provides time for students to slow down with some yoga-inspired breathing and balancing, allowing the movers to refocus while building head-tail awareness in the spine and length in the body. The movement in the DVD is accessible to all experience levels. There is nothing pretentious about the material, the environment, or the contributors. There is even a bonus, create-a-dance activity which demonstrates choreography building through chance as the children pick out a random sequence of movements which are then performed and practiced to spirited accompaniment. Read the full review!

Creative Yoga Games for Kids

“Flash cards” for yoga and pilates are not new. However creator, Edna Reinhardt from Over the Moon Yoga & Dance Studio in Victoria, Australia, has created a unique educational kit, pulling the best from both yoga and creative dance practices to allow children to explore and create movement. The colorful set of 48 cards are big and bright with pictures of adorable children doing the described poses. Four of the cards offer activities to try, but Reinhardt has also packed a wealth of information and games into the accompanying booklet. She blends creative movement ideas with yoga in ways I never would have considered, yet they make a perfect pairing. Parents and kids will love the challenge and long-term benefits of combining yoga and dance in such a creative way. Teachers will love the clear instruction on incorporating these into their lesson plans.

My First Ballet Collection

My First Ballet Collection is a great choice for those wishing to nurture enthusiasm for ballet among children of all ages. Younger children will enjoy being introduced to colorful characters and beautiful dancing. Older children will benefit from the opportunity to sample a mélange of ballet specimens. Twenty-six ballet excerpts are introduced with a caption indicating the ballet’s title, music composer, and excerpt heading. The DVD also conveniently offers the option to view by chapter for easy navigation among the selections. The excerpts are highly accessible and are well-chosen to stand alone. Read the full review!

My Mama Had a Dancing Heart

This book is a personal favorite. I haven’t been asked to review it but I am happy to share it with you. I particularly love the earthy toned images of Raúl Colón’s etched watercolor illustrations. They dance on the pages to the musical “tip-tapping, song-singing, finger-snapping” text. The author, the late Libba Moore Gray, is a respected poet, actress, dancer, and high school teacher from Knoxville, TN. A mama herself, Gray’s children and grandchildren are accomplished dancers who continue to make their mark in Eastern Tennessee. In My Mama Had a Dancing Heart, a young ballerina fondly recalls how her mother’s unique energy and outlook has inspired her dancing. However, this frolic through the seasons feels universal in its celebration of the bond between a parent and child. A poignant reminder that we experience life through movement as much as any of our other senses, the lilting rhythms of Gray’s verse honor the everyday moments which shape and give meaning to our lives.

How to Enter & Contest Details

1. Leave a comment on this post and tell me how you or your family get moving (It doesn’t have to be dance-related. Just describe what gets you up and active. If you are not as active as you’d like to be, you can talk about that too!)
2. Be sure your comment is linked to a valid e-mail address (very important if you want to win!) – Your email will NOT be stored except for the purposes of this giveaway. It will be seen only by the site administrator and you will not be contacted unless you are a winner (no need to place your address in the comment itself, just put it in the mail field when you leave your comment!
3. You have until Monday, December 7 at Midnight (Eastern Standard Time – U.S.) to enter.
4. I’ll do a random drawing, contact the winner, and make an announcement here on Dance Advantage on Tuesday afternoon, December 8.
   
5. I’m afraid I must limit winners to those within the U.S. My sincerest apologies to loyal readers beyond!

Dance parents, teachers and students, if you are new to Dance Advantage, I encourage you to look around. The posts found here are great starting points or just use the navigation bar at the top to find articles of particular interest to you. Contact me if you have any thoughts or questions and subscribe via RSS feed or email!

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | 58 comments | Category: Ballet/Pointe, Blog, Dance Library, Dance Styles, Giveaways, In the Spotlight, Product/Website Reviews

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A brand new video, released in September, would be a wonderful addition to their dance library. My First Ballet Collection is exactly what its title indicates, a treasury of excerpted performances which are particularly suited for introducing children to the world of ballet. Youngsters will immediately recognize some of the better-known tales; Sleeping Beauty, The Nutcracker, Swan Lake, and Cinderella are all included in the compilation. However, ballets such as Coppelia, Giselle, Sylvia, A Midsummer Night’s Dream, and La Fille mal gardée, present characters and moods that will appeal to all ages.

My First Ballet Collection offers high-quality film and sound production, however the DVD is not frilly. Played straight through, each of the 26 ballet excerpts are introduced with a caption indicating the ballet’s title, music composer, and excerpt heading. The DVD also conveniently offers the option to view by chapter for easy navigation among the selections. The excerpts are highly accessible and are well-chosen to stand alone. The video even captured the attention of my two-year-old. He was motivated to move to the energetic music and particularly enjoyed imitating the dancers as they jumped and balanced.

Image by Thomas Hawk via Flickr

A collection such as this would ideally inspire further investigation of the ballets, their stories, their choreographers or dancers, and the physical movements of which they are made. Parents hoping to plop their child in front of the TV or expecting the DVD to connect all the dots, may be disappointed in its lack of interactivity. My First Ballet Collection goes as far as bringing a variety of real ballet performances into the home or studio in one tidy package, providing the opportunity for parents or teachers to assist children in their continued exploration of ballet. This may be scary for some parents who feel they don’t know much of ballet or the dance world. However, exploring together is fun and encourages enthusiasm for learning.

Bottom Line: My First Ballet Collection is a great choice for those wishing to nurture enthusiasm for ballet among children of all ages. Younger children will enjoy being introduced to colorful characters and beautiful dancing. Older children will benefit from the opportunity to sample a mélange of ballet specimens.

For more info visit www.myfirstballetcollection.com. The website features additional info about the Royal Academy of Dance training program, where to find instructors, and a listing of North American dance companies. Purchase the video here.

Teachers, My First Ballet Collection works as a classroom tool as well. Skip easily among the snippets to illustrate a step, try on a variation, or to visually aid a discussion of ballet history.

In Detail

• My First Ballet Collection is the result of a collaboration between Naxos of America, Opus Arte, and the Royal Academy of Dance (RAD).
• The DVD features excerpts from 10 different productions with performances by ballet stars such as Darcey Bussell, Carlos Acosta, Patricia Barker, Maria Kochetkova, and more.
• Showcased are four different ballet companies from both sides of the Atlantic: The Royal Ballet, The Paris Opera Ballet, San Francisco Ballet, and Pacific Northwest Ballet.
• San Francisco Ballet’s Nutcracker, Balanchine’s A Midsummer Night’s Dream (performed by PNB), and The Nutcracker (The Royal Ballet), feature performances by children and student dancers.
• Diverse locales and archetypes are explored on the DVD: woodland creatures, mythological landscapes and beings, pastoral settings such as an 18th century farm (complete with dancing chickens), a toy shop with life-sized dolls, enchanted kingdoms, and 1930′s Hollywood (via Nureyev’s updated Cinderella).
• The 26 excerpts range from dramatic to romantic to comedic.

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | CLICK HERE to comment | Category: Blog, Dance Library, Giveaways, History of Dance, In the Spotlight, Product/Website Reviews, The Dance World

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Up, Down, & All Around is structured like many creative movement classes and feels very much as if Stacey is leading a class in your living room. After, a short introduction, the program begins with a seated warm-up that isolates and builds awareness of individual body parts, gradually bringing the body to a standing position. Over the next 30 minutes, Stacey directs her participants and viewers through fundamental skill practice and movement exploration. She provides time for students to slow down with some yoga-inspired breathing and balancing, allowing the movers to refocus while building head-tail awareness in the spine and length in the body. Stacey ends things on a high note, allowing each child to pick and show their “favorite thing.” There is even a bonus, create-a-dance activity which demonstrates choreography building through chance as the children pick out a random sequence of movements which are then performed and practiced to spirited accompaniment.

The movement in the DVD is accessible to all experience levels. There is nothing pretentious about the material, the environment, or the contributors. The children involved are eager and having fun, they readily express their own ideas just as children do in class. With the true spirit of a teacher, Stacey validates their ideas and moves on toward her goal without breaking stride. The adults are game too, enjoying the playful opportunity to get active. Real-life moms and dads of some of the child participants, these grown-ups wiggle, gallop, and roll with it.

Musician Steve Blunt plays live throughout the class and two of his recordings are featured as bonus music videos on the disc. His bouncy tunes support the various activities yet stand-alone with singable melodies and lyrics. In fact, you may be humming them long after the DVD ends.

The dance studio is carpeted and the movers fill a space that is also accommodating cameras. Tight quarters do not detract from this particular video, however. Instead, this attribute functions as evidence that the material really can be adapted for any location, including a family’s living room. A few varied camera angles keep the production from becoming static, while bright, colorful costumes and decor create a setting that appeals to both boys and girls.

My husband, son, and I had a wonderful time getting active with the movers in this presentation. My little guy is an active two-year-old. He was able to copy and participate with a bit of encouragement and assistance from us, and it was easy for him to continue moving in his own way to the lively music even when the directions were geared to older children. Versatility is the real strength of Up, Down, & All Around. Parents (or educators) with little experience can pop in the DVD and get every member of the family or classroom up and moving in no time, yet there are opportunities for new discoveries and learning with repeat viewings. Stacey also offers additional program notes (a free download) and other resources at her website, LeapingLegs.com, which help facilitators expound upon and supplement the seed of knowledge and experience planted with this program.

Preview the Video on YouTube

http://www.youtube.com/watch?v=daJJFv2RC18

Leaping Legs Creative Movement Programs was honored with Dr. Toy’s 100 Best Children’s Products 2009 Award and 10 Best Active Products 2009 Award. If you would like to purchase Up, Down, & All Around for your family or classroom, visit the Leaping Legs website.

Also, stay tuned here at Dance Advantage!! I was so pleased with Stacey’s video that I asked her if she would be willing to give away some copies to my readers. She generously agreed, so be on the lookout for that giveaway – it’s coming soon!!

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | CLICK HERE to comment | Category: Blog, Dance Library, Featured, For Parents, For Parents of Young Children, In the Spotlight, Product/Website Reviews

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I love books and I love a good story. And sometimes the stories that are true can capture my imagination as much as any tale of fiction, particularly when the story belongs to a dancer. I haven’t read all of the biographies and autobiographies below (so this isn’t a review post) but they all come highly recommended by dancers like you! Thanks to a few good Twitter friends I’ve compiled a list of some of the best. If you’ve read them, tell me what you think in the comments!

Mao’s Last Dancer

From a desperately poor village in northeast China, at age eleven, Li Cunxin was chosen by Madame Mao’s cultural delegates to be taken from his rural home and brought to Beijing, where he would study ballet. In 1979, the young dancer arrived in Texas as part of a cultural exchange, only to fall in love with America-and with an American woman. Two years later, through a series of events worthy of the most exciting cloak-and-dagger fiction, he defected to the United States, where he quickly became known as one of the greatest ballet dancers in the world. This is his story, told in his own inimitable voice.

No Way Home

Carlos was just another kid from the slums of Havana; the youngest son of a truck driver and a housewife, he ditched school with his friends and dreamed of becoming Cuba’s best soccer player. Exasperated by his son’s delinquent behavior, Carlos’s father enrolled him in ballet school, subjecting him to grueling days that started at five thirty in the morning and ended long after sunset. The path from student to star was not an easy one. Even as he won dance competitions and wowed critics around the world, Carlos was homesick for Cuba, crippled by loneliness and self-doubt. As he traveled the world, Carlos struggled to overcome popular stereotypes and misconceptions; to maintain a relationship with his family; and, most of all, to find a place he could call home.

Dancing on my Grave

The shattering story of a dream which became a heartbreaking nightmare for one of America’s most famous ballerinas, Gelsey Kirkland, who chronicles her brilliant start as a dancer with George Balanchine, her legendary partnership with Mikhail Baryshnikov, her agonizing descent into drugs, and her struggles to rise again. [Also check for this at your library or used book seller]

Blood Memory

Graham, the extraordinary creative force who ranks with Picasso and Stravinsky, broke traditional molds and ultimately changed the way we look at the world. Blood Memory invites readers to explore her phenomenal life and highlights the unforgettable images that encompass her work. [Also check for this at your library or used book seller]

Once a Dancer

Allegra Kent, one of George Balanchine’s greatest ballerinas, who was a principal dancer for more than twenty years with the New York City Ballet, talks about her childhood, dance career, marriage, and constant quest for emotional and physical stability.

Holding Onto the Air

Suzanne Farrell, world-renowned ballerina, was one of George Balanchine’s most celebrated muses and remains a legendary figure in the ballet world. This memoir, first published in 1990 and reissued with a new preface by the author, recounts Farrell’s transformation from a young girl in Ohio dreaming of greatness to the realization of that dream on stages all over the world. Central to this transformation was her relationship with George Balanchine, who invited her to join the New York City Ballet in the fall of 1961 and was in turn inspired by her unique combination of musical, physical, and dramatic gifts. He created masterpieces for her in which the limits of ballet technique were expanded to a degree not seen before. By the time she retired from the stage in 1989, Farrell had achieved a career that is without precedent in the history of ballet. One third of her repertory of more than 100 ballets were composed expressly for her by such notable choreographers as Balanchine, Jerome Robbins, and Maurice Bejart. Farrell recalls professional and personal attachments and their attendant controversies with a down-to-earth frankness and common sense that complements the glories and mysteries of her artistic achievement.

Better Late Than Never

Nijinsky: God of the Dance

Traces the life and career of the legendary Russian dancer and choreographer, and describes his major roles and dances. [Also check for this at your library or used book seller] You might also want to check out The Diary of Vaslav Nijinsky.

Out of Step: A Dancer Reflects

The remarkable story of Alida Belair, a gifted young ballerina in Melbourne in the 50s. Her determination took her a long way – to the top in fact – she danced with the Bolshoi Ballet in Moscow and had leading roles with companies in London and New York. [Read more about this book]

Last Night on Earth

Born in Bunnell, Florida, in 1952, the tenth of twelve children in a migrant worker’s family, Bill T. Jones spent his early years traveling up and down the East Coast with his parents as they followed the crop seasons. In 1959 they settled in upstate New York, and it was there – singing rounds in dusty tractor yards and watching grown-ups from the shadows of the juke joint – that Jones began his life in dance. Jones has continued to choreograph and dance, and in Last Night on Earth he documents the creation of several of his pieces, including Absence, Last Supper at Uncle Tom’s Cabin/The Promised Land, Last Night on Earth, and Still/Here. Jones illuminates the process through which his work has become a way of expressing profound emotion; of exploring ideas around memory, sexuality, race, and mortality; of imposing order and beauty on chaos and despair. And in so doing, he shows dance to be not only a sequence of beautiful movements on a stage, but also an instrument of survival.

Isadora Duncan: A Sensational Life

Isadora Duncan was “the most influential and the most notorious woman of the first quarter of the twentieth century” (New York Times). She was “one of the true visionaries of modern dance — and, by extension, of modernism in all its guises” (Washington Post). Her name is synonymous with flair, originality, spontaneity, scandal, and intrigue. In this universally acclaimed biography — welcomed on the cover of the New York Times Book Review — Peter Kurth gives us, at last, a work that does justice to the life of this unforgettable woman. Here is Isadora Duncan: her many sensational loves, her passion for her art, her mesmerizing performances, and her personal tragedies — all set against the sweeping backdrop of Europe and the United States in the early twentieth century. [Also look for My Life. And don't miss this unique portrait -- Isadora Duncan: A Graphic Biography.

Thanks to the following Twitter friends

• GinZone
• mahrobi
• sarah_rose
• t0mat0
• clouddancefest
• lacasaquebaila

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© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | 2 comments | Category: Blog, Dance Library, In the Spotlight, The Dance World

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Click on the titles or images to view or purchase via Amazon

Alvin Ailey

A young reader’s portrait of dancer and choreographer Alvin Ailey considers what the young Alvin might have thought and said and interposes facts about his life and dance theater.

Dancing to Freedom: The True Story of Mao’s Last Dancer

Li Cunxin was born in 1961 in northeast China. The sixth of seven sons from a poor rural family, his life changed forever when he was chosen to study ballet at the Beijing Dance Academy. Following a scholarship to train in America, and a dramatic defection, he became principal dancer for the Houston Ballet. His life story was originally published as Mao’s Last Dancer, which became an international bestseller. This is the picture book version of that story. There is also a Young Reader’s Edition.

Jose! Born to Dance: The Story of Jose Limon

José was a boy with a song in his heart and a dance in his step. Born in Mexico in 1908, he came into the world kicking like a steer, and grew up to love to draw, play the piano, and dream. José’s dreaming took him to faraway places. He dreamed of bullfighters and the sounds of the cancan dancers that he saw with his father. Dance lit a fire in José’s soul.

With his heart to guide him, José left his family and went to New York to dance. He learned to flow and float and fly through space with steps like a Mexican breeze. When José danced, his spirit soared. From New York to lands afar, José Limón became known as the man who gave the world his own kind of dance.

Footwork: The Story of Fred and Adele Astaire

In 1905, four-and-a-half-year-old Fred Astaire put on his first pair of dancing shoes — and from that moment, his life was filled with singing, dancing, and fancy footwork. Fred’s older sister, Adele, was the real dancer, but Fred worked hard to get all the steps just right, and it wasn’t long before he was the one capturing headlines and stealing the show.

Rap A Tap Tap

This simple book for young children tells the life story of a ground-breaking African-American tap dancer. Bill “Bojangles” Robinson was one of the most popular entertainers of the 1920s-30s. People said he “talked with his feet,” and in the Dillons’ graceful paintings of old New York, he dances from page to page to the tune of a toe-tapping rhyme.

I Dreamed I Was a Ballerina

Every girl remembers her first trip to the ballet: the anticipation beforehand, the orchestra’s first notes, the ethereal beauty of the ballerinas. This is a tale of one such girl who was caught up in ballet’s mesmerizing spell and became one of the greatest ballerinas of all time.

In a story drawn from her memoirs, Anna Pavlova describes her first visit to the ballet to see the Sleeping Beauty. With simple, childlike language, she captures her love for her mother, the splendor of the ballet, and the moments that changed her life. The words are matched with paintings, pastels, and drawings of the French Impressionist Edgar Degas, to give this story all the magic of a fairytale.

To Dance: A Ballerina’s Graphic Novel

Dancers are young when they first dream of dance. Siena Cherson Siegel was six — and her dreams kept skipping and leaping, circling and spinning, from airy runs along a beach near her home in Puerto Rico, to dance class in Boston, to her debut performance on stage with the New York City Ballet.

To Dance tells and shows the fullness of her dreams and her rhapsodic life they led to. Part family history, part backstage drama, here is an original, firsthand book about a young dancer’s beginnings — and beyond.

Tallchief: America’s Prima Ballerina

Growing up on the Osage Indian reservation, Maria Tallchief was a gifted pianist and dancer. According to Osage tradition, women are not permitted to dance, but Maria’s parents recognized her gifts and allowed her to break the rule. Then when Maria reached the age of twelve, her father told her it was time to choose between her two loves. Maria chose ballet. It was a decision that would change not only the course of her life, but the face of classical ballet in America.

Isadora Duncan

Isadora Duncan was born in San Francisco, but lived most of her life in Europe. She was a remarkably talented dancer, and a free spirit who never gave up on her dream. She introduced a form of movement that would become the basis for modern dance.

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | CLICK HERE to comment | Category: Blog, Dance Library, History of Dance, In the Spotlight, The Dance World

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Photo by Woodley Wonder Works

12 Ideas for Reducing, Reusing, and Recycling in the Dance Studio Environment

1. Collect and Recycle

Many of us recycle at home but forget about our workplace. Collect plastic, aluminum, glass, paper, and cardboard if you can. If there is no collection for your area or facility, check into possible drop-off sites and mobilize teachers, parents, and students to see that it gets there.

Consider recycling CDs and cases, as well! With music going completely digital there are probably a lot of these lying around the studio, not to mention all of the burned CDs that get made and tossed. Check this article for ideas about Where to Recycle CD and DVD Cases or try http://www.cdrecyclingcenter.com.

2. Turn Off Lights and Office Machines

Encourage students and staff to turn off lights whenever the studios, bathrooms, or offices are not in use. If your space has the option, try using only half of the lights available or installing dimmer switches. And, replace bulbs,as they burn out with energy-efficient ones.

Also, shut down computers and other office equipment when not in use, purchasing Energy Star labeled devices when you can.

3. Avoid Air Conditioning

Embrace the sweat and resist the urge to immediately snap on the A/C on hot days. Check out this article in Dance Teacher about Choosing the Right Temperature for Your Studio. And, don’t forget to remind students to stay hydrated!

4. Reduce Water Bottle Waste

Speaking of hydration, I know that some of you probably sell bottled water at your studio. However, it’s a no-brainer that all that waste is a real downside. Consider providing filtered water and/or encouraging students to bring a refillable from home. Perhaps you could sell containers with the studio logo to make up for not selling bottled water.

5. Reduce Water Use

Consider installing low-flow toilets or using the ol’ brick-in-the-tank method. Plus, do your best to keep up with maintenance of dripping faucets.

6. Go Paperless

Photo by David Mellis

In this age of technology, going paperless isn’t as difficult as it seems. Studios are beginning to move newsletters and other communications online. From increased communication through a studio blog to interacting with customers on your studio’s Facebook page or group, technology is making it much easier to go paperless. In fact, the free teleseminar that I am involved with at DanceStudioOwner.com will include discussion about how to transition your registration and billing systems online. This event begins TODAY with yours truly kicking things off. The topics are so timely, please don’t miss it. Update: Obviously this teleseminar is over but all the interviews and discussions are still available to members at DanceStudioOwner.com. In addition, the download of my interview with Suzanne on how a studio blog can boost your business is free to download when you subscribe to Dance Advantage.

7. Print Wisely

When you must print, use both sides of the paper whenever possible, use the back sides of old documents for faxes, drafts, etc, use the draft setting on your printer when you can, and consider recycling your ink cartridges or toner.

8. Carpool

Start a carpool network. We live in a fast-paced world but students are very conscious of environmental issues. Consider tapping this resource and challenge your students to come up with a plan for organizing the car pool (or to brainstorm more green ideas for the studio). You might be surprised at their willingness to embrace your efforts in this area. However, if you want to go that extra mile, consider offering some incentive with a discount or coupons to those who participate in an organized carpool.

9. Set Up a Gently Used Consignment or Trading List

Young dancers grow out of dancewear and shoes constantly and prices for brand new stuff can get expensive. Again, mobilize your customer base and work together to create a system in which students/parents can offer used items for resale or trade. Frugal parents will thank you.

10. Community Clean-Up

Adopt a highway or join other community clean-up efforts. This is great for your city and the environment. Additionally, showing an interest in your local region is good for business.

11. Buy Organic, Recycled, and Eco-Friendly Products

From the snacks you offer, to the paper towels you use, to the cleaning products you put on your floors, there are plenty of options for going green. Check TheGreenOffice.com or the following link, if you’re not sure where to Find Eco-Friendly Office Supplies.

Photo by CarbonNYC

12. Say No to Faux

Nothing brightens up a space like real, growing things. Consider bringing live plants into your studio environment to cool, humidify, and refresh the air.

What are some ways your studio is “going green?”

What are the pros and cons of the above 12 steps?

I’m looking forward to your thoughts and input!

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | CLICK HERE to comment | Category: Blog, Dance Library, For Studio Owners, For Teachers/Studio Owners, Perspectives

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The challenge today was to create a list post. I’ve done them before but usually my points or tips have lots of explanation. My challenge for myself was to try one that was more to-the-point! Wha-la!

1. Dance Imagery for Technique and Performance

I use this book all the time. There are so many great ideas and images to share with students in class and it is set up in a way that allows one to reference things quickly. Although, I do not own it, I understand that Franklin’s Dynamic Alignment Through Imagery, is excellent as well.

2. Dance Kinesiology

3. Creative Dance for All Ages: A Conceptual Approach

Another college textbook, this has proven an invaluable reference and guide for, not only teaching creative dance classes but, for working with children in general.

4. Technical Manual and Dictionary of Classical Ballet

They’ve recently updated the look of this book but it still holds up as a great reference for ballet terminology.

5. The Pointe Book: Shoes, Training & Technique Second Edition

I have the first edition but, I’ve often shared information from this book with ballet and pointe students and parents. It’s a concise overview of history, training, shoe care, and more.

6. The Art of Making Dances

There are several quality choreography books out there. However, this guide is great for it’s simplicity. A helpful tool for dance crafters and those teach composition.

7. Ballet and Modern Dance: A Concise History

Another one that was a college text and that’s been around a while. It is great for developing a basic understanding of the dance history timeline and discovering major influences and players in theatrical dance.

8. Physics and the Art of Dance: Understanding Movement

Kenneth Laws’ presentation of dance as it relates to physics might change the way you dance or teach!

9. Choreography: A Basic Approach Using Improvisation

A bit more colorful than Humphrey’s book, with lots of solid, beginning improvisation and compositional techniques, this is one I’ve used and shared with students a lot.

@Twitter Pals

Today I posed the following question to some of the lovely folks that follow me on Twitter.

What is one dance book or reference you couldn’t live without?

Here are some of their replies.

@amej Valerie Preston-Dunlop’s Looking at Dances. Incredibly insightful, inspiring and beautifully written.

Dunlop’s book is not available at Amazon but you can read more about her and her works at her website. Click here.

@cpmomcat One dance reference I would want on hand: George Balanchine’s Complete Stories of the Great Ballets

This book has been through a few revisions over the years. The older versions may be a bit harder to obtain. 101 Stories of the Great Ballets seems to be a condensed version of the original. It claims to offer the most popular ballets, old and new. But of course, this final volume was written in 1975.

@love2d I gotta say Martha Graham’s Blood Memory was truly inspiring for me, and Psychology Of Dance really interesting and useful.

Blood Memory is Graham’s autobiography. Again, this is a collectible so you may want to check out your local or college library to see if they have a copy. Psychology of Dance is on my wishlist.

@love2d If I can add another one: Dancing – the all in one guide for dancers, teachers and parents. More interesting information.

Dancing: The Pleasure, Power, and Art of Movement, could be the book mentioned here. Or, it could be Dancing: The Indispensable Gude, also mentioned by @sarah_rose.

Thanks to all my twitter pals that took the time to offer their responses. If you are a Twitterer? Tweeter? Twit?, be sure to check out these birds of a feather. And, make sure you stop by and say hello @danceadvantage!

What are some dance books YOU can’t live without?

The content here at Dance Advantage is available free of charge, however maintaining the site is not. If you like the content here and would like to offer a bit of support, one way that you can do that is by purchasing one of my nine recommendations through the widget below. As an Amazon affiliate, I earn pennies on the dollar but every bit helps. I don’t want to hide links in the text – I want to give you the option! And I don’t want to recommend or try to “sell” you on something that I haven’t used myself. The books below are all in my home library.

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | 3 comments | Category: Blog, Dance Library, In the Spotlight

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It’s in the Bag!

It’s not always easy to find dance accessories suitable for boys. Horizon Dance has a variety of dance bags suitable for young girls, teachers, AND boys.

Dance totes for the ladies don’t have to be frou-frou either! Check out these bags from Sugar and Bruno Dancewear.

A Dream Come True

For little girls with big dreams. Check out these pillow cases from Bunnies and Bows and You Go Girl Dancewear.

Charmed I’m Sure

Charm necklaces and bracelets can be sweet or sophisticated. Crcreations.com offers over 50 dance charms.

Generous Gems also has a wide selection of lovely dance and theatre charms.

Definitely a site for the girly at heart, High IntenCITY sells cute but stylish dance jewelry and charms, plus accessories and bags for young dancers. Their logo gives you an excellent feel for their product design.

We’re on a Roll!

A great gift for any dance teacher! DanceDice.com offers ten sets of dice – Ballet, Jazz, and Tap in beginner, intermediate, and advanced levels, and one Creative Dance set. Each set is $21.95.

Fix-er Up-er

For the serious tapper – a repair kit from Hollywood Tap Mall. Includes a “mini-screwdriver set with tubes of odd-sized screws, leather tap-bits + a tube of Super Glue – in a RED supple neoprene pack for an easy-find in your bag.” $19.95

Sock it To Me!

What is it with dancers and socks? I don’t know but we love them. Check out these cute, comfy, and original designs. Click on the pictures for information and ordering.

Feelin’ Good

Hugger-Mugger is great for aspiring yogis but dancers and teachers will enjoy some of their products as well. They have a full line of organic clothing, jewelry, mats, bags, and more.

Sincerely, Yours

Yes, people do still write letters… I think. For the dancer that still physically writes a thank you note, Dance Extras has some beautiful designs.

Happy Feet

Tired feet can always use a little TLC! Click on the pictures for more information and ordering.

Original Ornaments

Ornaments are a great holiday gift! These are particularly lovely or unique.

Get Cracking!

Some dancers get a little Nutcracker crazy around the holidays. For the collector who has everything, here are some unusual and/or rare finds. Also included are three performance DVDs with a slightly different take on the Nutcracker story.

Raise the Barre

Perhaps all your dancer wants for Christmas is his/her own space to practice. Portable floors are available for tap dancers.  And, here are some tips for what to look for in a ballet barre (article provides links to three major retailers, here is another). Please note that it is not safe to “teach oneself” pointe, this should always be done with the guidance of a skilled teacher. In fact, it is best to develop most dance skills under the eye of a trained teacher and ask for their suggestions as to what can or should be practiced outside of class.

Happy Shopping!

I hope you enjoy this list and maybe even find some great gifts for the dancer in your life (or for yourself)! I want to note that I am receiving nothing in return for listing these products, I just thought it would be fun to share some of the fun things one can get online with my readers. I cannot speak to the quality of the products or the retailer. Therefore, please practice safe and smart shopping online! Check out these tips. Or, this quick guide.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | One comment - ADD YOURS! | Category: Blog, Dance Bag, Dance Library, Dancewear, In the Spotlight

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photo by ravenmaven

A while back I did a post entitled Encouraging Boys to Dance. It had a good response and I was even asked to submit an edited version for the PTA (National Parent Teacher Association) website.  It is my firm belief that boys should be encouraged to dance by dance teachers and parents in particular. After all, there are many who would discourage them – we should be making it an easier choice for young guys who may have an interest in the art form.  Sadly, many dance schools seem completely geared toward females (maybe without even realizing it), effectively turning young men away.  Dancers thrive in an environment where they feel comfortable to be themselves and safe from judgment or abuse.  Therefore, dance schools and parents must make an effort to provide this environment for boys in dance.

Check it out!

I recently came upon two blogs which are the primary purpose of this post.  They are excellent resources for male dancers and their parents.  The first is My Son Can Dance, a chronicle of one dance mom’s experiences with raising a boy who dances.  Teachers, dance moms, and male dancers should definitely take note of this site! The second is Boys and Ballet, essentially a collection of news articles from around the globe that feature boys or men in the dance world (specifically ballet but other genres are occasionally featured) – an excellent resource that can act as a source of encouragement for young men involved in dance.

While we’re on the subject…

Here are some other links:

• Teacher lesson plan that reinforces the idea that dance is a beneficial activity for men and women.
• Bad Boys of Dance – a company of male dancers who tour… field trip!!
• River’s Edge Dancewear – large selection of men’s dancewear.
• All About Dance men’s dancewear selection
• The Ailey School’s program for boys.
• The Men in Dance festival in Seattle
• A clearly written article on boys in dance in an educational setting (pdf).
• Inspiring Boys through Dance – interesting education project (UK) which provides insight applicable to other settings.
• Helping Boys Make the Leap to Ballet – from the Washington Post, a good reminder that boys in dance can enjoy both dance and sports.
• Born to Be Wild – The Leading Men of American Ballet Theatre
• Billy Elliot: an enjoyable movie (note: it is rated R for language)
• The Jacob’s Pillow gallery of Ted Shawn’s The Men Dancers (prints available for purchase)
• An excellent example of grace and masculinity -

Children’s Books (great for your studio waiting room or home library)

• Jose! Born to Dance: The Story of Jose Limon
• Alvin Ailey
• The Only Boy in Ballet Class
• Ballerino Nate
• Dancing to Freedom: The True Story of Mao’s Last Dancer
• …and more children’s books!

Participate – WordPress now has PollDaddy!!

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 3 comments | Category: Blog, Dance Library, Dance Media, Dancewear, In the Spotlight

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Here in Part II are three ways in which a dancer can nurture their ability to turnout and to actively maintain that rotation during movement — Awareness, Release, and Strengthen Without Tension.

Awareness

Photo by Sally M

Awareness comes from developing an understanding of how the body, or specifically the hip joint in this case, works. We’ve talked about this in Part I. And then adjusting or bringing attention to the way you think as a result of this understanding.

The number one problem for students struggling with turnout is that often they are thinking about what they see happening to the pelvis rather than what is occurring in the joint. Teachers can help their students develop x-ray vision by discussing the actions of the joint in anatomical terms. Many students do not even have a clear picture of how their bones and muscles look so keep in mind that diagrams can be very helpful.

Of course, accuracy with terminology is great also, but what students really need to understand are the concepts behind what the bones and muscles are doing. This is far more helpful than talking about visual imperfections like “lifting hips” which occur when students are not properly using their turnout.

Use mental imagery to aid in this kinesthetic understanding.

For instance, in her article Turnout is a Verb (which is sadly no longer online), Linda Kjesbu suggests imagining the quadriceps “as you would a barber shop pole that continually rotates up and out, around the leg.” This image hints at the idea of upward lengthening and outward rotation of the whole leg – a different picture and feeling all together than opening the feet like a book or in the shape of a slice of pizza, which is only what we see happening on the outside.

In Conditioning for Dance, Eric Franklin uses the image of the pelvic floor opening like a fan in turnout.  With this tool one can visualize that the sitz bones come together as the femurs open away from each other. Attention is drawn to a very important portion of the body – the base of the centre – which will help students begin to harness the power of the pelvis in jumping, leaping, and other movements.

Use tactile information (sense of touch) to bring about awareness.

Encourage students to find bony landmarks on themselves and one another. Find ways to isolate certain muscles through manipulation and touch while encouraging the use of mental pictures. Again, I will highly recommend Conditioning for Dance as a wonderful reference for this type of sensory learning.  You will also find a variety exercises with bands and balls targeting specific areas of the body. For an in-depth understanding and analysis of joint and muscle actions, I constantly refer to Sally Fitt’s Dance Kinesiology. These make excellent additions to a teacher’s dance library.

Release

Too much tension in the musculature around the hip joint is often responsible for limiting the degree of turnout. Therefore, releasing that tension is key if you’d like to improve outward (and inward) rotation. Tight inward rotators inhibit outward rotation and visa versa. Dancers have varying methods which they use to accomplish release in the hips. Some use passive and lengthening stretches and others utilize props like balls to facilitate an opening within the joint.

A common stretch for the inward rotators is the prone (face-down) frog. In this stretch it important to avoid forcing or pushing the turnout of the hips because doing so can damage the tissues and ligaments surrounding and leading from the hip. A more gentle and effective version of the frog can be done lying supine (face-up). You might also try a less passive version: While lying, point both knees to the ceiling. Open one knee toward the floor and press down with this leg, lifting the thigh, hips and lower spine off the floor. Maintain this press and lift the opposite leg off the floor so that only the rotated leg and the shoulders are supporting the body. Hold this for 20-30 seconds (breathe!) and then release and lie with both knees open wide, then repeat with the other leg. This utilizes reciprocal inhibition, a method of increasing flexibility favored by dance medicine specialists.

Strengthen Without Tension

Many dancers have more turnout capability than they are able to use because they lack the strength in their outward rotators and supporting muscles to fully open and maintain turnout in the hips. Strengthening these muscles is a gradual process and can be done primarily during technique class, focusing particularly on rotation during plié, fondu, and passé/retiré exercises. Performing prone leg lifts and the Pilates side kick series also target the appropriate muscle groups. Make sure you have a trainer, guide, or teacher when learning these, however, so that you are not repeatedly strengthening or targeting the wrong muscles. Turnboards, discs, and other devices are also becoming popular for strengthening the outward rotators.

It is essential to focus on strengthening without tension in the muscles. “Squeezing” the buttocks is never a good idea when trying to achieve turnout. This language is often tossed around in dance classes, perhaps because the gluteus maximus is partially responsible for achieving turnout, and it is a muscle we can see working. However, squeezing implies that the contraction is a forceful one which will only lead to over-development of the muscle and possibly injury. Pay attention instead to the opening and lengthening aspects of turnout.

Avoiding Injury

Almost all injuries in dance are caused by imbalance. Imbalance in muscle strength is created when one muscle group is overused or underused in relation to the opposite muscle group. For instance, the excessive use of the outward rotators (turnout muscles) in dance can cause sciatic syndrome, a condition in which the sciatic nerve, which runs through the deep rotators, becomes pinched when this muscle group is constantly working without release.

Stretch the external rotators

We’ve all done the sitting yoga twist (pictured right), which is a great stretch for this muscle group. Reciprocal stretches, like the ones for the inward rotators above, can be effective for the outward rotators as well. Lie supine with your knees up and press the insides of your knees together, holding this for 20-30 seconds. Then, open the feet and drop one knee (in inward rotation) toward the floor. Press again and then drop the other leg.

Don’t Force Or Fake Turnout

When dancers chase the almost impossible ideal of 180º turnout, and outward rotation is forced beyond the range of one’s bone structure, an abnormal erosion of the hip socket occurs. This is probably the reason for the high numbers of aging dancers with arthritic hips.

Creating false turnout (as mentioned in Part I) can also lead to problems. Excessive pronation can cause shinsplints, strained arches, bunions, misaligned knees, and strained ligaments. Issues such as these have a way of working their way upward through the body, and will in turn cause strain in the hips or cause pelvic tilt, which leads to back problems and iliopsoas shortening/pain. Rolling in to get that little bit of “extra” turnout is clearly not worth it.

Conclusions

At the beginning of this two-part article, I asked two questions:  Is having extreme turnout really ideal?

What I hope you take away from this article is that it is not the degree to which you are capable of turning out, but the healthful and educated approach to achieving your potential for turnout that is important.

As for the importance of turnout itself, I believe it is only as important as we allow it to be. Even most ballet professionals, I think, would agree that having extreme turnout is trumped by mastering the ability to properly execute and maintain the degree of outward rotation that exists.  This attitude, when applied to training or teaching, can transform a student’s technique. Coupled with the knowledge of how turnout works, it allows the dancer to dance longer and stronger.

It is never too early for a dancer to begin to make anatomical and kinesthetic connections to the movements they are producing in dance class.

Dancers should always strive for better efficiency in movement. It’s about making the effort count, rather than wasting it.

“If the turnout is mastered early and properly, the student, and later the dancer, does not have to waste energy on the placement but instead can concentrate on the muscle energy needed to  jump higher to turn better, and to control the weight of the leg.”

- Istvan Ament, A Systematic Approach to Classical Ballet: A Four-Year Program

Dance Advantage recommends further investigation:

Tune Up Your Turnout

FUNctional Anatomy for Dancers

Essential Anatomy

You can get all of the above at The Body Series. I have been following Deb’s work online for years and have such faith in her as an information source for dancers, that I don’t mind at all telling you that that link is an affiliate link.

Tell me about your successes or frustration with turnout.

Do you think too much emphasis is placed on the degree of turnout? If so, what are some ways that teachers or educators can correct this?

Do you think the ballet aesthetic is changing?

What are some images, stretches, or exercises relating to turnout that have worked for you?

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 10 comments | Category: Blog, Dance Library, Dance Media, Technique, Toolbox

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1. How Important Is Turnout, Really?
   
2. Explaining The Mechanics Of Turnout
3. Recognizing Proper/Improper Turnout
4. Nature vs. Nurture

If you want to learn some techniques for improving your turnout, you can jump straight to Part II. But I highly recommend you read this first because it provides crucial information that will help you make better use of the information in Part II.

If you study classical ballet, you are well aware that the outward rotation of the hips (or turnout) is essential to the training and traditions of this form. Even if you are not trained in ballet, as a dancer you probably use turnout at least some of the time. Concert or theatrical dance forms (like modern or jazz dance) in particular utilize turnout within their movement vocabulary. Ask most dancers, and you’ll discover that turnout is high on their list of things to improve and increase.

But is having extreme turnout really ideal?

The human body is designed primarily for forward motion. We walk, run, sit, and stand in the sagittal plane. In dance, the use of turned out legs is primarily utilized for ease of motion on the proscenium stage, a venue in which the performers present movement to an audience which sits entirely on one side of the stage (as opposed to all around or on three sides).

A little history: When dance (ballet) moved to this forum from the royal courts, dancers spent more time moving side to side, necessitating a degree of turnout.  Since then, this rotation of the legs has been exaggerated, accepted as the ideal, and adopted as the aesthetic in ballet.

With developments in dance medicine, there is evidence that 180-degree turnout is not possible, necessary, or even healthy for all ballet dancers – even the pros (although how much this has changed about ballet training traditions is debatable).

Sideways locomotion certainly does not require rotation to such a degree. Turnout does allow the greater trochanter to avoid the ilium as the leg is lifted above the waist,  however 180 degrees of turnout is not required for this clearance. In fact, Gayanne Grossman, associate professor of anatomy and kinesiology at Temple University suggests that “most dancers have a maximum rotation of 55 degrees in their hips.” [see this 2008 article from Dance Magazine] This means that many who appear to have 180º turnout  are making up the difference in the lower leg. 

I suspect that dancers who have danced for years without injury probably discovered early that it is not how much turnout you have that is important, it is how you use what you have. Therefore, it is imperative to know how to use it!

What you need to know to make the most of your turnout:

• How the hip functions
• What is improvable and what is not
• How to increase turnout safely and without injury
• What you can do to maintain optimum turnout for your body

Understanding How Turnout Is Achieved

In anatomical terms, turnout is the outward (sometimes called lateral, or external) rotation of the hip joint.

The hip joint is the joining of the head/top of the femur (thigh bone) to the acetabulum, or hip socket (seen in the diagram below).

Image via Wikipedia

This joint is a ball and socket joint, which allows for a wide range of motion on all three planes (sagittal, lateral, and transverse).  The hip joint can produce flexion (forward of the body), extension (as in standing, not the unfortunately labeled lifting of the leg which is actually flexion in anatomical terms), abduction (away from the midline of the body), adduction (toward the midine of the body), inward rotation (turning-in), and outward rotation (turning-out).  Most dance movements are a combination of these actions.

Muscle Action

The hip joint is very complex and most of the muscles surrounding the socket are responsible for more than one action of the hip joint.  These muscles both initiate and restrict movements of the hip. The outward rotators are pictured in the diagram on the right. 

The muscles that pass posterior (behind) the hip joint contract to initiate turnout while the anterior muscles lengthen, and those anterior (in front of) the joint contract to initiate inward rotation while the posterior muscles lengthen.

If this is confusing, picture the spine of a book -

When the book is opened the outside edge of the binding contracts while the other edge lengthens and visa versa.  This inverse relationship is true for all muscle actions and is the key to analyzing movement.

False Turnout

Turnout does not occur from anywhere other than the hip. A false turnout can be achieved by pronating the tarsus (rolling in) to create the illusion of a wider turnout than is being achieved by the hips alone.  This causes a twisting in the knee, a joint which is only designed to extend and flex in the sagittal plane, and this usually leads to misalignment of the pelvis, which actually reduces outward rotation.  False turnout also creates the potential for a myriad of injuries, as we’ll discuss in Part II.

Turnout Is A Verb

Although we sometime use the word turnout as a noun or a position (i.e. “Your turnout could be better.”), it is more appropriately thought of as an action, a verb.

Because outward rotation is not the body’s natural state, the work does not stop once the position or desired degree of rotation has been attained. Instead, outward rotation of the hips requires continual action within the body, even when the rotation is held in a position (like ballet 5th).

How To Recognize Proper/Improper Turnout

There are some simple visual cues that indicate turnout is being forcefully executed.

As mentioned above, dance instructors looking for indication of false turnout will expect to see the feet roll in, the pelvis tilt, and the knees and toes pointing a different direction than the center of the hip joint indicates.

When a dancer is forcing turnout beyond their physical capabilities, tension will appear in the buttocks and probably other areas of the body such as the shoulders or neck.

When you hear teachers say “knees over toes,” they are asking you to properly align the turnout of your legs and avoid pronation both in standing and in plié.

Students, try this: Bend your knees slightly, turn out as much as you can, and then gently lengthen the legs. You are forcing your turnout. What does it feel like? Do you feel a tension or twisting in the knees? Are your feet rolling toward the big toe (pronating) to maintain this position? Do you feel balanced or secure in this position?

When the legs are opened without force and turnout is supported with the deep rotators, iliopsoas, and abdominals, one should be able to trace a line directly from the hip, through the center of the knee, and to a point between the second and third toe of the foot.  A neutral or properly aligned pelvis (with the sitz bones pointing downward) is a good indicator as well because when the turnout is forced, generally the pelvis will tilt, creating a swayed back.

A dancer who consistently performs with false or forced rotation in the hips will eventually complain of sciatic, knee, foot, and/or back pain. Therefore, if a dancer is having any of these problems it is always a good idea to pay special attention to their turnout and alignment while dancing.

Nature vs. Nurture

Almost everyone “afflicted” with what he/she considers a limited degree of turnout has at one time found solace in the idea that, for some, the degree of turnout is limited by the unchangeable structure of the body and not for lack of trying.

It is true that some have a narrow sacrum which allows for more efficient locomotion overall. Men have a narrower sacrum than women, giving them the potential for more impressive jumping skills. Of course the width of this area varies among women as well. But, before you begin to think that having a narrow pelvis is ideal, some have observed that this narrow pelvis often is paired with a forward facing acetabulum. This facing results in, you guessed it, a lesser degree in outward rotation than those with a side-facing hip socket. The depth of the acetabulum can also affect turnout.  A shallow hip socket allows for higher degrees of both outward and inward rotation in the hip than does a deeper hip socket.

Aside from these natural limitations, turnout is only hindered by problems in how we have nurtured (or not nurtured) the muscles and tissues surrounding the hip, and perhaps our mental state or expectations. There are three ways in which a dancer can nurture their ability to turnout and to actively maintain that turnout during movement:  Awareness, Release, and Strengthen Without Tension.  And we will learn more about these in Part II!

Dance Advantage recommends further investigation:

Deborah Vogel’s Tune Up Your Turnout is a handy resource. Easy to read with the essentials of what you need to know as a teacher or student. Deb answers your most pressing questions about turnout, provides stretches for the appropriate muscle groups, and offers quality advice on how to test and improve your range of motion safely.

Also check out the FUNctional Anatomy curriculum for your classroom (by Deb Vogel and Anneleise Burns Wilson) and Deb’s new multimedia course, Essential Anatomy that comes with video, outlines, and study guides.

You can get all of the above at The Body Series. I have been following Deb’s work online for years and have such faith in her as an information source for dancers, that I don’t mind at all telling you that that link is an affiliate link.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | One comment - ADD YOURS! | Category: Blog, Dance Library, History of Dance, Technique, Terminology, Toolbox

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