Lightbulb Moments: Pas De Chat

Every jump in ballet is preceded by a counter-movement, namely, a plie, and this is exceedingly effective in getting more height out of a jump (try jumping from straight legs and see what happens), not to mention protecting the achilles tendon from injury. In fact, people have studied jump height and found that maximum vertical height in a jump is higher using a counter movement than not (3). So it makes sense that we bend our knees before jumping.

Muscles 101: Comparing muscles to a rubber band might be stretching it….

While the image of a rubber band is useful in demonstrating the elastic nature of muscles in the stretch reflex, it’s not always as simple as the stretch/recoil and stretch-farther/less-recoil that we gain from thinking of muscles simply as rubber bands.

Why And How To Teach Anatomy Concepts To Children

Since dance is the art of motion, in order to become a proficient dancer one must understand how the body moves from the inside; how the muscles and bones work to leap, turn, kick, stretch and fold. A pretty sophisticated idea for a young dancer. Since learning is a layered experience, introducing the concepts of anatomy now will allow them to build upon this foundation in the future.

Is It Okay To Stretch Before Class?

If you are stretching with the goal of long-term changes in your flexibility (for example, you can’t do the splits and would like to), save your stretching routine for after class or between barre and center when your muscles are “warm.” Generally speaking, both of the stretching techniques above have acute (short-lasting) effects on your range of motion before activity, but don’t really increase your overall flexibility.

“Late Beginner” Blues And How To Get Beyond Them

Possibly the worst thing dancers can do when there is a strong desire to improve is make negative comparisons of themselves to other dancers. Sometimes comparisons help us create a realistic picture and provide awareness of where we are and where we still have to go. However, comparisons must stop there.

What You Mean, What You Say: Get Up On Your Leg

“Get up on your leg”… Teachers have a habit of saying this when students are “sinking” into their supporting leg while balanced on one leg. How can you correct a sinking hip and what are some ways to rephrase this common dance teacher-ism.

When Is Too Much Not Enough? — The Truth About Well-Rounded Dancers

Experience and exposure in a variety of dance styles is important for creating versatile dancers and may even be a necessity for aspiring professionals. Being well-rounded in dance is a good thing. Exposure to different dance forms, starting at a young age, is a great thing. So where’s the myth? It lies in the misplaced emphasis on experience and omission of training.

Introducing My Dance Homework: Toe Sit-Ups

[VIDEO] A simple exercise for dance students to do while sitting around. “Toe Sit-ups” encourage awareness and articulation of (or working through) the foot for tendu and pointing. They also strengthen the plantar flexors for pointe work, stability and balance, cushioning landings, and giving power to jumps.

What You Can Do To Improve Tendu (and why it is crucial)

Imagine the relatively light/easy press and bend of a paint brush that allows the painter to evenly distribute paint but still glide the brush smoothly. Imagine a layer of velvet or velour beneath your foot and enjoy the feeling of your foot moving through the plush carpet, leaving a trail in the fibers as the foot moves outward and returns. Imagine light or streaming air radiating from the hip and out through the toe, as well as upward and out through the top of the head.

Pointe Readiness and What To Expect

Despite that the path is sometimes painful and frustrating with prolonged and hard-won rewards, young dancers spend much time and thought getting ready for pointe work. But how will your teacher decide if you are ready? Why might she decide you are not? And what can you expect if you are prepared to bear a pair of toe shoes?

9 Tips for Improving Pirouettes

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.

All In The Family: Battement

Battements, as they are practiced at the barre and in centre, are the foundation of many other movements in ballet (jumps and travelling steps such as assemblé, tour jeté, grand jeté, and so many more) and in other dance forms. It is necessary to have a solid grasp on the simplest forms in order to perform the others correctly.

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