The Bag Ladies

Today’s kinection is to a relatively new blog. Bloggers Emilia and Linda have been sharing their passion for ballet at The Ballet Bag for about four months now. They are off to a great start, producing content that is focused and informative. Their thoughts and reviews about the Royal Ballet are a big feature. However, if you do not share that particular passion (yet!), there is still plenty to learn and discover about ballet at the site. I caught up with the pair to ask them a bit about how they got into ballet and blogging!

DA: How did the two of you meet and what awakened your passion for ballet?

Funnily enough both questions share the same answer: Alina Cojocaru! We met through the blogosphere out of mutual admiration for this miraculous dancer and she is also one of the reasons our passion for ballet was re-awakened. Linda was knocked sideways when she saw Alina & her partner Johan Kobborg in Onegin a couple of years ago and I got to know Alina’s dancing via Youtube. Then finally one day I saw her on stage in Romeo & Juliet (2007). Linda was there too and eventually we met face to face and became friends.

We both had more general personal blogs but soon found that our preferred topic was ballet, ballet and more ballet! As we could not really identify with any of the more traditional ballet websites/forums elsewhere and we wanted to spread the concept of ballet as a fresh, original art form (not stuck in a time warp as some tend to think!) from an audience perspective we took a deep breath and started our own.

Primarily the mix between a varied repertoire which spans from the oldest classics (Bournonville, Petipa) & neoclassics (Ashton, MacMillan) to cutting edge (Wheeldon, McGregor) and their longstanding dramatic tradition, which has theatrical roots (the Royal Ballet was “born & bred” in the Old Vic Theatre). It adds a distinctive personality to the company so that dancers are able to communicate not only via the steps but also through acting. The emphasis is on great artistry even though they have the technical chops too! The other factor that makes the company so interesting is the diversity of dancer’s backgrounds, they hail from far flung places but they really seem to be at home there.

Indeed, we are quite new and so happy that we’ve been getting great support from established sites such as Dance Advantage, dance bloggers & twitterers because we feel that this journey is worth it! We are trying to integrate web content (reviews, articles, dancer profiles, ballet fact cards) & trendy new media with the aim to “spread the word on ballet” & network with dance fans anytime, anywhere. If we can spark a passion for ballet in someone the same way Alina Cojocaru has done for us then our job will have been done!

These “bag ladies” have added some excellent posts on ballet terminology, articles that discuss the history and significance of certain ballet works, and resources so that you can educate yourself on the art of ballet. Furthermore, they are all teched out with a Facebook page and Twitter account. Be sure to check them out and say hello! Tell ‘em Dance Advantage sent you

Richard Maddock Music — CD Review and Giveaway!

Richard Maddock is an accomplished musician as well as a seasoned dance class and exam accompanist. He is currently Head Accompanist at The Pia Bouman School of Creative Movement and Ballet, in Toronto, Canada and has written, performed, and engineered eight CD’s for dance in the last three years. I recently came across Richard online and he graciously offered five of these discs for review here, on the blog.

To top it off, he agreed to donate nine CD’s to give away to nine lucky Dance Advantage readers!

Music for Movement and Imaginations

Ballet Class & Creative Movement (for children ages 3 and up)

I’m not currently teaching preschool ballet, but this is a CD I wish had been around a few years ago when I was teaching younger children! Dance teacher and collaborator, Kelly Jones-Hart has developed a class structure that effectively blends the conceptual exploration of creative dance with basic ballet technique. And with over 40 tracks, there is plenty of material and alternatives to spread over many classes. The disc provides brief notes on each track explaining its possible uses in class. The notes are not a how-to manual. Some familiarity with creative dance methods would certainly increase the variety of ways you could use the musical material. However, plié, tendus, relevé, ballet walks, sauté – it’s all here – forming a cohesive lesson format whether you are comfortable with creative movement concepts or simply looking for a way to enliven your children’s ballet classes.

Musically, the selections are simple but engaging. Composer, Richard Maddock knows when to keep the beat “readable” so that young dancers can stay in time with the exercise. And, he is playful, adding flourishes and fun when trying to inspire little imaginations. There are a variety of “freeze” dance selections with random pauses, and a group of compositions designed for Enchaînment (combination of steps or concepts). These often switch tempo or meter and could be applied many ways to whatever you are working on with your students. Also included are seven “Dance-a-Story” arrangements. In these, the music changes and progresses in a way that suggests a plot or sets a scene. Two sample stories are included in the album notes and a general outline is offered for the others but, the music itself will encourage your own creativity.

Although this is most certainly music for young dancers, I appreciate that the musical cues and changes are subtle and that the compositions have an elementary sophistication compared to some of the “baby ballet” albums out there. Because of this, the CD could be functional for children’s classes well beyond the preschool years, extending the usefulness of this album.

For further detail or to preview some of the tracks, click the image above.

Ballet Studio Inspirations: Volume Two and Volume Three

Richard creates from a colorful palette of musical hues. His compositions for dance classes are expressive. It is easy to find inspiration in the material for the choreography of exercises because he paints attractive landscapes of sound. But, it is the lyrical quality of the songs that also make these tracks enjoyable to dance to. They encourage the student to perform the exercises rather than just complete them, which makes a teacher’s job easier in the long run.

Volume Two includes 14 compositions, beyond the 31 barre and centre selections, which are recommended for pointe work. And overall it has rather lengthy tracks, particularly for barre. As a result, this CD is probably more appropriate for advanced students than beginners. Containing an hour and 20 minutes of music, the disc offers plenty of selections to mix and match for different lesson plans. What I found unique about this album was its delicate orchestrations. Though the piano is the focus, there are textures added beneath which suggest the richer dynamics of an orchestra without overpowering the dancers during class.

Volume Three, on the other hand, is special for its purely piano sound. Recorded on a Concert Series Grand while corresponding class exercises were performed, this album more closely resembles the experience of having a live musician at your disposal, a luxury that few dance studios enjoy. Though in the notes it suggests that the music was composed to compliment a pre-professional level ballet class, I feel that this CD might be more adaptable to varying levels than the previous disc. The shorter tracks have much to do with this. The compositions, consistently featuring 64 bars of music, also seem more symmetrical overall.

On both discs, it is helpful that the selections are ordered and titled according to how they might be utilized in a class. However, the compositions could be easily rearranged (perhaps on your iPod or mp3 player) according to preference. I also appreciate that the liner notes include the time signature of the piece, how many bars (measures) are available, and note changes or breaks in pattern. Knowing these details can make choreographing exercises a much smoother process.

For further detail or to preview some of the tracks, click the images above.

As Creation Unfolds: Part Three and The Garden Within

While the first three albums are definitely designed for class use, these two albums include longer compositions more suitable for creative or improvisational dance, or composition. Again, I visualize landscapes as I listen to Richard’s work. Most tracks have a contemplative quality.

As Creation Unfolds Part Three is the shorter (i.e. fewer songs) of the two albums. However most of its tracks are well over four minutes long. A favorite on the disc is “The Newborn Fawn.” Its skipping rhythms make it the most dance-y of the compositions and, as the shortest track, it could certainly be used for a lilting ballet in your next recital. “Woodland Nymphs” is another standout. I instantly recognized this one as a great fit for a creative dance class. Beginning with gentle pauses and gradually increasing in tempo, I picture children making shapes and exploring in a scarf dance. Incorporating several changes in texture, the music seems to have “events” that could easily be turned into a story dance.

On The Garden Within, the selections “Oh What Wonders” and “Gently Guiding,” in particular, produced movement images and motifs in my mind as I listened. Their lyrical melodies and slightly more stirring tempos make them relevant for phrases or class choreography. My most pleasant surprise came at the end of this body of work, however. The final track, “Moving Forward” is underlined with percussive elements. This, coupled with its Asian-inspired gongs and chords, give the song a Cirque du Soleil vibe. What I find most compelling, however, is the tempo fluctuation in the piece. Of all the tracks on these two albums, this is my favorite.

The Garden Within and As Creation Unfolds Part Three are both filled with lovely compositions. They are a pleasure to listen or meditate to, making them ideal for relaxation, yoga, or stretching (inside or outside of class).

For further detail or to preview some of the tracks, click the images above.

All CD cover images are the photographic work of Kim Fiocca.

Here’s How To Enter:

Sorry, the giveaway is now closed!

Winners have been contacted

♫♫♫♫♫♫♫♫♫♫♫♫

Richard Maddock Compositions
Inspiring CDs for Ballet Class and Choreographic Work
www.richardmaddock.com

Five Favorites: Music for Children’s Dance Classes

Today I’m sharing with you a list of five albums from my own class music collection. I have put these to use and would recommend them for classes with young children. Enjoy!

Contrast & Continuum — Music for Creative Dance Vol. I-IV

by Eric Chappelle

Designed specifically for creative dance, this set works well with curriculum ideas offered in Anne Green Gilbert’s Creative Dance for All Ages: A Conceptual Approach. However, the rich variety of styles, sound textures, and tempos offered here could be used for any creative dance curriculum. The album liner notes also offer movement ideas and uses for each track. These are also available as pdf files on the site below. As I tend to mix and match tracks depending on what I am teaching, I cannot make an “if you can only buy one” recommendation. You can sample the music and decide for yourself or purchase the whole set at Ravennaventures.com.

Rhythms on Parade

by Hap Palmer

This collection of songs are beneficial for teaching rhythm. The songs are designed for use with musical props like rhythm sticks, shakers, bells, or tambourines – great additions to preschool movement classes. However, most could be adapted for movement-only classes by encouraging children to put the rhythms in their body. Songs include explore tempos, meters (how many kid songs are in 5/8?), rests, and instruments. And there is even a class “transition song” that encourages children to “come up and choose an instrument to play.” You may also want to check out Hap Palmer’s other selections including his Holiday Magic album.

Sweet Taps

by Rosemary Boross with Bruce Stephen Foster

This truly sweet collection of candy-coated songs is great for covering tap fundamentals like cramp rolls, shuffles, heel drops, and more. The vocals provide combination choreography and rhythms that are geared toward older preschool and young elementary/primary students (CD notes recommend its use for children 4-8). However instrumentals are provided. My only complaint is that these are not separate tracks as on Boross’s Fantasy Garden Ballet Class series, also found at Kimbo Educational.

Soulville

by Little Monsters

Sometimes even the little ones just want to rock. Little Monsters covers classic soul tunes like ABC, Dancing in the Street, and Mustang Sally on this album. Adults provide lead vocals while children provide back-up. Unlike big-name compilations that similarly cover pop songs, the production is slick and the vocals don’t have that nails on a chalkboard affect! I’ve used these in class for a fun free dance, across-the-floor, and recital music. You can purchase the CD at Amazon by clicking on the image or at the very cool Little Monsters Records web site where you can keep an eye out for new music.

Positio

Whitefeather Productions

This CD’s short tracks and clear and even tempos have proven helpful in pre-ballet classes. All of the 29 music selections are classical favorites, providing plenty of music for introductory barre work, center, jumps, and traveling movements. Whitefeather has a number of ballet CDs for various levels. These can be purchased on iTunes or at their website www.whitefeatherproductions.com.

What are your favorite albums for children’s dance classes?

A Young Man That Dances — Exclusive Interview with Garrett Smith, Houston Ballet’s Ben Stevenson Academy and HB II Graduate

At 20 years old, Garrett Smith is a recent graduate of Houston Ballet’s Ben Stevenson Academy and already an accomplished performer and choreographer. As a member of Houston Ballet II, Houston Ballet’s pre-professional company, he has toured internationally to places like Budapest and Japan. In addition, Garrett has set four works on HB II, often doing double duty as dancer and dance-maker.

Even before being awarded a scholarship to the Academy in 2006, Garrett’s ambition and dedication won him numerous honors. Originally from Riverton, Utah, he has performed off-Broadway and in the opening ceremonies of the 2002 Summer Olympics. Garrett is a national title winner of the New York City Dance Alliance competition, awarded in the Junior category at age 13 and selected as Teen Male Outstanding Dancer at 16. And, as an NFAA youngARTS winner, he was one of 20 students selected as a Presidential Scholar in the Arts in 2007. And those are just his dance achievements!

Clearly, on the fast-track to a bright future, Garrett took some time to talk with me about his early training as a young man in dance, his passion for choreography, and what lies ahead for him.

Dance Advantage: You began dancing at age 9 but you didn’t start with ballet. What prompted you to try dance in the first place and why did you decide later to give ballet a try?

Garrett Smith: Sports just weren’t doing it for me so I tried tap, jazz, and hip hop. I loved it. I was silly at age 9 wanting to be famous. I thought if you were a jazz dancer, it meant you were dancing on screen with the Utah Jazz [laughs]. I tried ballet because the studio I was attending was dying down and I switched to this great ballet school in Utah called Jacqueline’s School of Ballet. I changed so much there, as did my opinion of ballet. I guess I never knew what ballet really was until I was in a correct ballet academy.

DA: As a young man with an interest and passion for dance, have you ever experienced teasing or taunting by peers or pressure to not be involved?

GS: Ugh, yes! From 3rd grade until 9th, it was pretty bad. I came home crying some days. But, through the years I improved and realized that I was going far at a young age. I knew what I was doing with my life, unlike the boys who called me names.  The teasing made me work harder to prove them wrong and to be successful. When I went to Europe at age 13, I realized that they were so wrong because I was having so much fun dancing.

DA: In your opinion or experience, how important is it that boys have male teachers to inspire and encourage them?

GS: It is very important. In my training it made the world of difference. I had to leave my home to train in a place where boys were better than me. It was nice when I was the only boy getting all the attention but, at some point, you need competition to compare yourself to. And you need teachers that understand a male dancer’s body and how a man needs to dance on stage – jumps and partnering in particular.

DA: How did you balance school and other activities as your study of dance intensified?

GS: I was born into a religious family with great values. My mother taught me that I am a young man that dances, not one being raised to be a dancer. As my dance training became more serious throughout high school, I tested out of gym classes, left school early to drive down to rehearsals, and I did my whole senior year independently. I think that a normal upbringing in public schools, developing social skills, and being raised with values and good morals helped me balance my life as a young man and dancer.

DA: Do you feel you missed out on anything by making the choice to finish your high-school education from a distance?

GS: No, I don’t feel I missed out on anything really. I think that I was pretty normal for going to most all of my schooling, church activities, and doing drama and musical theater performances outside of school. My drive comes from my love of art and doing what I do best. Wanting to get better and better and seeing the improvement over the years, the amazing places I go and friendships I make, gives me the motivation to continue on this path to becoming a dancer.

DA: You’ve been an honored recipient of awards in nation-wide competitions and arts programs. As a result you’ve worked and taken instruction from some of the world’s most renowned professionals. Not every dancer reading is interested in pursuing dance at this level but many do participate in conventions and competitions. How might students at any level make the most of master classes or other experiences which take them beyond their home studio?

GS: When you are at any type of dance convention, it’s important to watch others and observe how the teachers move their bodies. Listen to what the teachers’ motives are behind the steps. Also, don’t be afraid to get in front of the group of dancers and show yourself. Be confident but be open to correction and adapt to change. The right way to dance a step might not always be what you learned at your local studio.

DA: What did you take away from your experiences at summer programs like School of American Ballet and Pacific Northwest Ballet?

GS: I was introduced to great dancers from all over the world. I learned a lot about myself. I learned that I was a little behind in my men’s technique and partnering. I was so skinny and weak but, I was more versatile than most any dancer I came across because I had opened myself to a wider vocabulary of movement. Maybe they could to a triple tour, but I could tap, sing, play the piano, choreograph a ballet, I knew hip hop, and was successful with most any contemporary ballet thrown at me.

DA: What advice would you give to a dancer that is seriously considering either a short-term or long-term continuation of their dance study away from family and friends?

GS: I think that when you are young, it’s scary to think of moving away and being alone, but now I wish I could have moved away to train earlier! Away from my family, I depended on myself to cook, do schooling, and it was all up to me in the end. Nobody but me was getting myself out of bed to class. That’s how I knew that I was really serious about ballet!

My advice to other young dancers is to just be honest with yourself. Don’t go for any other reason than for yourself. Friends should not be the reason you are going, you are not there to party, you are there to work. If you know you want this, then when you are mature enough and ready, go to the schools that will benefit you the most, even if it happens to be in another country.

DA: You were awarded a scholarship to attend the Houston Ballet Academy through Youth America Grand Prix and you’ve continued with your study there. What’s made the Academy a good fit for you?

GS: Over the past three years I have become a strong partner. I did the pas de deux in the Spring Showcase this year which means so much to me because I never thought of myself doing this kind of role before. I had other offers before Houston, such as PNB, and the Kirov, but I decided Houston Ballet’s Academy would be the best fit because of the diverse training that is offered. They have great men’s technique here, really good jazz and modern class, character, pilates, and a very well taught pas de deux class.

Most important for me has been the multiple choreographic opportunities that have come along, for which I am so grateful. It all started with the Houston Ballet’s summer program workshop, American Festival for the Arts (AFA). You have two weeks to work with dancers to set your own piece. You even get to costume it and light it on stage. It is really cool. This is what made me realize, “Wow, I love this!”

DA: Your work has become a fixture at the Academy’s Spring Showcase. Tell me a little bit your last piece, “Of Opposing Nature,” your creative process, and inspiration for the work.

GS: Jiri Kylian, David Dawson, and Stanton Welch are all great choreographers in this generation, and they all inspire me. For this piece I experimented a little bit more with lighting ideas. There are 7 movements in the ballet and I have used amazing music by Vivaldi. The work is for 5 men and 3 women. There is a conflict between the men and women, as well as connections, diversity, discovery, and subtle romance. After working long and hard for the piece this year, I was very excited for its premiere.

“..unique with an appealing unpredictability. The dancers slid and skidded along the floor, carving through the space with large, dynamic movements, and then a flick of the wrist, a moment of measured restraint or stillness, swiftly changed the mood. An unusual costume device utilized by the five male dancers featured fabric extended at the neck like a scarf. Whether stretched over the face or ferociously wiggled, its use illustrated Smith’s creativity and willingness to take risks.” – from my review of the 2009 Spring Showcase

DA: Okay, big question, I heard you may audition for So You Think You Can Dance? Is this still a possibility?

GS: I won’t be able to audition because I now have a contract for the 2009-2010 season with Houston Ballet!

DA: Assuming you’re a regular viewer, what do you think is different about watching dance on television as opposed to seeing live dance performance?

GS: I still always watch my friends dance on the show and never really miss an episode. That is the kind of dancing I grew up with. It is just disappointing that it has become so much about hip hop and sex appeal. I think ballet needs to be better respected and given some credit on the show, and done correctly. I guess that is what is different about America watching dance on TV rather than live.

DA: You’ve done so much for someone a mere 20 years old. Where do you see yourself in 5 years?

GS: I see myself in my dream company, dancing awesome parts in amazing ballets, working on new masterpieces, hopefully for Houston Ballet and other companies. Maybe getting married [laughs].

If there’s anyone that could do it all…! Thanks, Garrett.

A Celebration of Dance Moms

On this special occasion, I’d like to share some stories I’ve collected from dance moms, dance teachers, and dancing moms. I hope they brighten your day!

My Story

My son is almost 2 years old. When I was pregnant with him, I taught classes in ballet, jazz, and tap nearly every day. My youngest students loved to pat, kiss, and hug my belly! As he grew within me, I often wondered what he felt and heard as I chassé’d, balancé’d, and skipped around the room! I’m still not certain, but there is no doubt that he is a very musical little guy that loves moving! From the time he could sit, he would bounce to a beat. He sways and swings to music, and he even tries to copy the b-boy moves he sees on Hip Hop Harry. I adore watching him move and should he ever show an interest in formal classes, I relish the thought of being able to support him in that endeavor.

Little Star

One of my fellow Twittermom Dance Moms, Tracey, is also a dance teacher. She shared an endearing story with me that I think most moms will appreciate!

I had a very shy child in one of my preschool ballet classes. It was so hard to get her to participate in the routine or to even learn it. When recital time started and it was her time to go out on stage. She looked at me and said, “But Miss Tracey, I’m scared.” I knelt down to her and said, “Do your best smile and have fun and remember you’re the star!” She stood there with her head down. The curtains opened and her eyes got so big. She stepped in front of the class and did the whole routine! (I didn’t think she even knew it!) The music stops and she’s blowing kisses bowing to the audience screaming “Hey, Mom! Miss Tracey said I’m the star!” I will never forget that as long as I live..the power of words.

Chips Off the Block

A good friend of mine, Suzanne Gerety, is a mom entrenched in the dance biz – she helps her own mother run her very successful dance studio and she runs DanceStudioOwner.com, a great site that provides the necessary tools SO’s need to operate a thriving business (you can read more about the site here). Apparently, she is rubbing off on her children!

My 4 year old son and 2 year old daughter love it when I play the tunes on my iPod. We dance around the kitchen and my son looks at his reflection in the dishwasher and he says he’s a ‘hip-pop’ dancer [yes 'pop']. Too cute. They particularly love the revival songs from the kids movies including “I like to Move it’ from Madagascar and “Kung Fu Fighting” from Kung Fu Panda. Watching them dance together is not only a highlight of my day, but they really think they’re putting on a show and ask me to sit in the chair and watch.

From Babes to Ballerinas

Twitter pal, Catherine (@cpmomcat) is a long-time dance mom. She shares two of her favorite “ballet mom” stories:

My daughter was performing as a Polichinelle in the NYCB Nutcracker and, of course, we were not allowed to video tape.  A classmate’s grandmother snuck a video during a performance, but her eyesight was so bad that she recorded my daughter instead.  So, I had a nice video of my daughter with only a small twinge of conscience.

My three daughters studied ballet, and while my two older daughters loved every minute of it, Sarah, my youngest, dropped ballet in favor of horses.  Being the youngest, she was dragged along to rehearsals, etc. and at one photo session, one of the four little Swans was delayed and the photographer was about to leave.  The A.D. came over to us and asked if Sarah would put on a costume and her sister’s pointe shoes and pose with the three young swans who were waiting, worried that they would not be photographed without a fourth.  He assured us that going up on pointe would not be necessary, that she was almost the exact right size and, of course, my daughter agreed to help out.  After several lovely shots with four little swans, and lots of praise for retaining her good posture and technique, Sarah turned to the A.D. and said, “So . . does this mean I’m in it?”  The entire room burst into laughter, but that didn’t bother Sarah.  To this day, she claims that she could have leaned the dance and could have performed it the next day!  That was the first and last time she had pointe shoes on her feet – I wish I had a copy of those photos.

A Series of Unfortunate Events

Melsmomma at DanceMom.com offered this story from the trenches:

During my daughter’s first year of competition 7 yrs ago, on the morning of a competition in Raleigh, NC, I was taking a shower at the hotel while my daughter was getting dressed. I was all soaped up and trying to shave my legs. I reached out to grab the shower bar to steady myself, my hand slipped, and I fell backwards… out of the shower… in all my glory… onto the floor. It made quite a large thud! My daughter ran to the bathroom, opened the door and saw me laying butt naked on the floor. She put her hand over her mouth and tried not to laugh as she asked me if I was OK. Luckily, I wasn’t hurt, although I could have died! I asked my daughter not to tell anyone and of course, she did… EVERYONE !

To make matters worse, later that morning at the competition, while trying to apply my daughter’s fake eyelashes, I accidentally glued one of her eyes shut! A mom got it undone rather fast. Then during lunch, I walked over to the corner to a fast-food restaurant to get lunch. While walking under a group of trees, a bird pooped on my head! My fellow dance moms decided I was bad luck that day!

Still My Baby

Another DanceMom.com user shared this with me. I think it eloquently sums up the mix of pride and joy and bittersweet emotions all moms experience as we watch our little ones grow. May you enjoy a wonderful Mother’s Day with your young dancer(s) and your families!

Last night I was watching my daughter’s ballet class (from the window so she couldn’t see me). They had learned a new combination, and she was waiting for her turn to go across the floor. As each girl went across, my daughter was watching and marking it from her place in line. About halfway through her wait, she let loose with a huuuuuge yawn which reminded me so much of how she used to yawn when she was 2 years old. So cute! But what cracked me up was that she just kept right on marking all the way through this gigantic yawn. It was the contrast of advanced-level semi-bored robo-ballerina vs. sleepy-head little girl ready for bed. After I got done laughing, I just wanted to hug her.

She’s officially a senior in high school as of today, but if I watch carefully I can still see my baby once in a while.

Thanks moms, for sharing your stories!

Do you have one you’d like to share? Place it in the comments below this post!

Duncan Cooper Offers Advice at “My Son Can Dance”

Nina at My Son Can Dance has recently published some advice and tips she received in conversation with Duncan Cooper, a master teacher, faculty member at Alonzo King’s Lines Ballet, and former Dance Theatre of Harlem dancer. Though, Nina has posed some wonderful questions regarding boys in ballet, the advice Cooper offers is relevant to all dancers. Even those not looking to have a career in dance can benefit from the guidance offered here. If you’d like to grow and improve as a dancer, check out the interview!

Part I in particular stresses the importance of setting goals for your career (which I’ve touched in this post about finding instruction and this post about choosing a college program), researching and learning from other dancers, and more.

Part II is especially relevant for boys, but I think girls/women can gain useful perspective on performance and telling a story through movement.

Children and Dance

Throughout my career as a teacher I have had the opportunity and the pleasure to work with very young dancers. I’ve enjoyed being able to spark imaginations and encourage little ones in their discovery of movement and dance. These young students have taught me a lot too! When working with small children one must break-down and dissect movements that have for years been ingrained in one’s body and mind. It is a process that usually led me to new discoveries about myself, technique, and creativity. Young dancers have also taught me many valuable lessons in patience, working with parents, and not taking myself too seriously!

Some of what I have learned, I have shared in posts here at Dance Advantage. Here are the links and a short description:

Dance of Independence

This article discusses situations a teacher or parent may encounter with the youngest dancers (preschool children) as they begin their dance experience. It offers some solutions on dealing with children who are not willing to participate at first, or hesitant to allow their parent(s) to leave. It also gives parents an idea of what they might encounter with their own child and help prepare them for dealing with their child’s, and possibly their own, feelings of uncertainty.

Creative Dance

I am a strong advocate of utilizing creative dance principles, not only in programs for young children, but for all age groups within a dance school. If you are not familiar with creative dance, its purpose, or its methods, this post serves as an introduction. If you know or have experience with creative dance, this article may assist you in discussing the benefits of creative dance with parents or others, and hopefully encourages you to consider its use for older dancers as well.

Fostering Artistry in Young or Beginning Dancers

This post offers an observation inspired by a post on another blog. The observation that dancers in studios are rarely asked to make art, to make their dancing personal, and to express their own thoughts and feelings through dance. Look for the follow-up to this editorial (long in the making) that will offer some solutions  or suggestions as to how artistry can be fostered in young dancers.

The following posts relate to children and their pursuit of dance as a career. In many other careers, this discussion would not fit in a post about children but dancers often must start early if they want to pursue a life in dance or ballet.

What it Takes: Becoming a Ballerina

More accurately, this post offers insight and links that discuss what it takes to become a professional ballet dancer. It is important for students and parents of students to understand the challenges and pathways to becoming a professional performer in dance. And, in ballet, an early appreciation for the rigors of this pursuit is particularly helpful. Many youngsters dream of a career in ballet, and it is healthy to have some perspective of what that entails so one can make informed decisions. This post has recently been updated and re-vamped, so if you’ve seen this post before, you may want to take another look.

Everyone Starts Somewhere

Just a sweet reminder that everyone, including New York City Ballet dancers, start somewhere.

Houston Ballet’s Got The Nutcracker Covered

In the music industry artists often release new renditions, called covers, of previously recorded and released songs. Often these are explorations and reworkings of the original material, designed to pay tribute to the original, reach a new audience demographic, and/or encourage the listener’s interest in the artist by hooking them with a familiar tune. For similar reasons, dance companies worldwide add their versions of The Nutcracker to the fray, making it the most “covered” ballet narrative in the dance world. In this sea of re-hashed material, how does a dance company create a variation that will be a stand-out and beloved at the same time? While there may be no concrete answer to this question, Ben Stevenson’s  choreography, as performed by Houston Ballet, is an excellent model of this elusive formula.

From the opening scenes, the ballet promises a traditional take on the classic story. Characters file across the stage in 19th century costumes indicative of the tale’s setting. Men, women, and children gather at the Stahlbaum family home, complete with a large tree sheltering imagination-powered gifts and toys, for a Christmas party. Where many established versions have failed in making these scenes come alive for a contemporary audience, Stevenson’s take on the familiar scenario offers an engaging and action-packed opening that resonates, in particular, with families who’ve come to see the show. Long segments of courtly dancing are not to be found, traded instead for vignettes that capitalize on familial interactions and have a look and feel of authenticity, despite a heavy use of slapstick. Children, all from Houston Ballet’s Ben Stevenson Academy are a joy to watch, and wriggle and squiggle as they’re tossed about by uncles or cousins. Elder relatives guzzle ale, from which comedy ensues. And, with his reserve of slight-of-hand and theatrical magic tricks, even Drosselmeyer, played here as more eccentric uncle than mysterious (and creepy) conjurer, is strikingly genuine.

Not just in this opening scene, after which the ballet’s plot inevitably comes to a halt, but throughout the remainder of this version of The Nutcracker, Stevenson has woven humor and inventiveness into the fabric of his choreography. From the ridiculousness of rotund mice scurrying en pointe, to the nostalgia of Clara chasing snowflakes embodied by dancers in flowing skirts, to the originality of flying chefs with angel wings in The Land of Sweets, this Nutcracker keeps viewers entertained. Even in Act II, which has the potential to become for the audience a seemingly endless parade of divertissement and pas de deux, captivating partnering and whimsical innovations make each section memorable.

Houston Ballet’s performance of this endearing rendition of The Nutcracker is strong and polished. The cast fluctuates, sometimes rotating corps members into principal roles, yet from the level of performance it is clear that audiences will see a top-notch show on any given evening. For many dancers, myself included, The Nutcracker is typically an event worthy of evasion, regarded as a song that’s been covered one too many times. However, Houston Ballet’s The Nutcracker, delivers a worthy reinvention of a classic that could melt anyone’s wintry heart.

Performances of Houston Ballet’s The Nutcracker will continue now through December 28th. See their website for details.

What are your thoughts on The Nutcracker versions that you’ve seen? Have there been any that particularly captured your imagination or are you “over it?”

Click here for BalletMet’s detailed history of The Nutcracker.

AND DON’T FORGET!

Ovation TV’s Battle of The Nutcrackers: Grudge Match is on! Watch, vote, and weigh-in on the six versions being shown on this arts network. Polls will close on December 19 and the winner will be broadcast on Christmas Eve!

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Everything You Ever Wanted to Know About Turnout – What Is Turnout?

This will be a continuing series. Certainly, it would be impossible to write about everything you ever wanted to know about turnout in one, two, or maybe even twenty posts. But, welcome to Part I!

Contents:

1. Introduction
2. What is Turnout?
3. Recognizing Proper/Improper Turnout
4. Nature vs. Nurture

Want to learn some techniques for improving your turnout? Read 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 a 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 how important is turnout, really? And 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).  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, most dance educators would now agree that 180-degree turnout is not truly a necessity in ballet or otherwise (although this has yet to really change ballet tradition).  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, some research (discussed here) suggests that “most dancers have a maximum rotation of 55 degrees in their hips.”  This means that many who appear to have 180º turnout are probably 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 that one have an understanding of how the hip functions, what is improvable and what is not, how to increase turnout safely and without injury, and how to make the most of what one has.

What Is Turnout?

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).

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.

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.

Turnout, although often used in dance as a noun or a position, would more appropriately be considered an action, a verb.  Outwardly rotating the hips requires continual action within the body even when the rotation is held or maintained.  The work does not stop once the position has been attained because maintaining turnout is not what the body is designed for.

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.

How To Recognize Proper/Improper Turnout

There are some simple visual cues that teachers and students can look for that indicate if turnout is being executed properly and without force.  First of all, if someone is bending their knees (no matter how slightly), turning out, and then lengthening the legs, they are very clearly forcing their turnout. If you try this, you’ll see (and feel) that the feet are rolling toward the big toe (pronating) to maintain this position. 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. 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.

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.  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. 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!

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Everyone Starts Somewhere

Just ran across this video from New York City Ballet’s YouTube channel and felt it serves as a reminder for all the students out there that everyone starts somewhere.  I hope you find it inspiring.

Get Behind the Texas Ballet

Dance organizations in the United States are nearly always struggling.  There are lots of complicated reasons for this – government belt-tightening on arts funding, poor management of non-profit finances within the company, or an uncertain economy forces audiences to stay home and watch dance on tv rather than attend a live performance.  In addition to yearly pledges and donations from generous supporters, dance companies rely on funding and attendance to continue their mission, and many are falling short of their goals.

One such dance organization in Texas is in desperate need to raise funds.  The Texas Ballet Theater calls the Dallas/Fort Worth area home and Read more

The Back-to-School Teach-a-thon is here!!

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