Category Archives: Ballet Chicanery

Foot and Ankle Injury Prevention Tips for Dancers


Dance Injury Diagram-The Foot
Dance Injury Diagram-The Foot

About now dancers in pre-professional programs, those starting back from a lazy Summer, or those simply not accustomed to the new level of pointe or technique they are experiencing will begin to feel pain in different places when dancing. It is no fun sitting out, but the wise dancer checks herself to see what is wrong and tries various remedies to heal the pain. It is human nature to do so, and those who ignore it could be in for some less than trifling troubles later. An unchecked injury, whether from overuse or a real problem, rarely gets better on its own if you dance through it. Anything to stop you is enough to verify the cause of. Who wants to wince with pain during a classical variation?

Foot/Ankle Injury Prevention Tips for Dancers

1) Proper training and teaching are essential to allow dancers of all ages to develop their skills without injury. If your school is having you overdo it then you have to watch out for yourself. That means make sure you are doing the exercises correctly, not repeating combinations twice or more a day because of duplicate classes, even if it means talking to the teachers and explaining to them this is all new for you and you need a little time to work up to full throttle. Proper training and teaching would encompass this rapport with your teachers-who else knows more about it than they? Talk to them. It is your instrument and they cannot replace it breaks and it is up to you. There is no warranty with your equipment-no customer service either!

Rest Ice Compression Elevation= PRICE (Precaution)$$$
Rest Ice Compression Elevation= PRICE (Precaution)$$$

 

 

2) Take adequate rest to allow the body to heal itself from daily wear and tear. If yours is a particularly rigorous schedule, rest often, do nothing in between, ice, soak, massage, apply cremes, take ibuprofen, use epsom salts, pamper yourself. No one else is going to. It gives your hands and fingers a workout. Try heat and ice, or hot water (as warm as you can stand it), then as cold to increase circulation and healing to the area. Obviously don’t do that which hurts you. Take it easy if you have a second portion of the day as rigorous as the first. Build up slowly and bring issues to the attention of some people who care so they can be thinking, researching and trying to find ways to help you, too. Don’t stay quiet about it. Cry if it helps. Dancing is not easy. You deserve to be pampered. The squeaky wheel gets the oil.

3) Maintain energy levels by eating and drinking adequately. No nourishment, or little nourishment, in dancers is a common cause of injury. Lack of nutrients causes the lessening of the production of Estrogen in the body and can lead to injuries. Better eat right! Take your daily vitamins (at least) and don’t forget to eat MEALS. Drink plenty of water.

This feels good-do it!
This feels good-do it!

4) Conditioning and strengthening of the leg muscles that support the arch are crucial. Yes, on top of dance, you need to ask your teachers for exercises that will increase the strength and flexibility of the muscles you are using everyday, so as to try to keep up with what will be expected of you. Ask your teachers for foot strengthening exercises. If they hurt, it is probably a sign that you are weak and need to strengthen. Flexibility and strength in the foot of a dancer is critical, wouldn’t you say? I mean you can’t dance without them-that would look funny. Use a tennis ball, rotate them, point and flex them, put them under the bed, sit on them-DONT’ BE LAZY.

5) Try to avoid dancing on hard or uneven surfaces, which could cause injury. What surfaces are you dancing on everyday? walking on? Where is the impact being absorbed? This is pretty hard to prevent, but perhaps classes should be held in the studios with raised flooring, but those are often not available. Wearing pointe shoes and even tightly fitting ballet shoes all day takes its toll. Shoes that are too tight, too narrow, or do not have proper arch support can also lead to increased problems, swelling and even fractures. Try to reassess all you are doing before you blame the floors. Chances are something will cause improvement, if you try. Are your straps or ribbons too tight? Are you releveing properly? Are you sickling? are you using your plie in your jumps? Landing properly? Check everything. Keep track-keep notes, dates and times, so you can look back and say, “during this class this happened and after class I felt this way.” Then you begin to see a pattern of activity, or action, which cause pain, or relieves it.

Naughty no-nos and Dancing-DOS!
Naughty no-nos and Dancing-DOS!

6) Take care of your shoes! Wet and worn out shoes are not supportive, and without support and on pointe for long periods of time, any dancer will experience pain. Stress moves to other soft tissues when a dancer compensates, causing injury to those areas as well. Keep them clean and dry, adding alternating pairs to your collection as needed for rotation. Always put your feet first! Skip the new leotard-better get shoes! Try different shoes for different classes. Sometime a higher vamp might be necessary for extended dancing as the foot can strain with overuse. Support, support, support!

7) Dancers should adopt new training schedules slowly. This is the number one ignored reason for overuse injuries by students because they AND teachers press forward, into maxed out training schedules, failing to accommodate for rehearsals, competitions, etc. Too much, too soon, can result in an injury and especially when taking even one day off, but especially a few, take it easy when you return, stretch as opposed to dancing hard even if you risk insults, it is better than injuring yourself just to keep up. How are you going to have a career in dance if you injure yourself permanently???? I never think returning to pointe on Monday is a good idea, but after a week off no pointe should be taken for a few days. You have to build up again. after a Summer, WELL! what do you think? Get plenty of rest at home. Even if that means going directly to bed after supper. Feet up. Soak, Massage, Eight hours. Why do you think professional dancers like to sleep late? And they DO!!!

8) Not everyone can have custom-made dance shoes. Although not always possible when dancing, but more so off stage or out of class, wear supportive footwear, and if you need to wear orthotics, wear them as often as possible. I recommend a wide variety of gel arch/foot supports, shoes and ZUMIES (AT CVS) for walking around the house. As important as the surfaces in the studio, are the street, sidewalks and concrete flooring found everywhere. A dancer lives on their feet and especially sore, they feel everything! Put your feet up. Try wrapping your feet to see if that stops or relieves the pain. But always, wear special and comfortably supportive footwear out of class. NO PAYLESS GARBAGE. Good shoes. Not always sneakers either because they do not have enough support on the sides. Finding good shoes should be a number one priority and just another example of how you should treat your feet. Would you put a baby in those shoes? Your mothers did not and how dare you treat yourself less well and carefully than they would!

Pronation and fallen arch foot pads. All dancers have impact to their feet. Fact.
Pronation and fallen arch foot pads. All dancers have impact to their feet. Fact.

 

9) Although I have already expounded on this in other articles, I will say it again: If dancers perform excessive pointe or demi-pointe work one day, they should focus on other types of work during the next workout. Try skipping the second technique class. Move your schedule around to try not repeating movements or overusing certain muscle groups. If you are doing variations, repertoire, privates and rehearsals-you do not need a second technique class everyday. Try jazz and modern, yoga, pilates, anything but a repeat of the same exercises you already did once in the morning. I have heard some dancers attribute their superior technique to 2 technique classes per day. On some level this might be okay, such as during Summer, or when other classes are not available, or when the opportunity arises (such as master classes), but one has to be very careful not to overdo it everyday. Repeating exercises with the hips, tendus, feet and other movements can cause overuse injuries in dancers that have not built up the stamina and strength to do this. at any rate, we are all just like the Duracell Bunny-at some point, there is a limit. Don’t let that happen when you are so young! Make an effort to work on different muscle groups and not repeat the same exercises.

Don't wait for a f.l.y. guy or your MOM-massage your OWN feet!
Don’t wait for a f.l.y. guy or your MOM-massage your OWN feet!

10) Most importantly, early recognition of symptoms is key to understanding the cause. Stop activity if pain or swelling occurs. If the pain persists after a few days rest, consult a sports-medicine physician or preferably a dance therapist or doctor. It is sometimes worth traveling to see one as opposed to getting the wrong advice. Work to break bad habits: leaning in one’s hips, poor posture, not pulling up on point, sickling. Left to chance, these might throw off all of your good training, creating areas of weakness and poor alignment which can literally stop a performance career. Fix these things now, and never look back on them, don’t keep nursing them. They are easier to correct than the one million ways they can cause you more problems in the future left unattended. Keep on Dancing!

A Song for my Grandmother, Loretta 1920-2014



//www.googletagmanager.com/ns.html?id=GTM-5DBTHW
(function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({‘gtm.start’:
new Date().getTime(),event:’gtm.js’});var f=d.getElementsByTagName(s)[0],
j=d.createElement(s),dl=l!=’dataLayer’?’&l=’+l:”;j.async=true;j.src=
‘//www.googletagmanager.com/gtm.js?id=’+i+dl;f.parentNode.insertBefore(j,f);
})(window,document,’script’,’dataLayer’,’GTM-5DBTHW’);

Loretta Meischner
Loretta Meischner

Someone once said, “Sometimes it’s not the quality of the voice that makes the song good, sometimes it’s the road it has traveled to get there.” Well, she almost made it to 100. Had she had a little easier life, she might have lived longer. But 94 is plenty long, unless it is someone you love. I guess its okay to be selfish. Sometimes. i saw this great movie the other day, about these old people and it was called A Song for Marion. Vanessa Redgrave, Terrance Stamp. Jemma Arterton. Just and amazing experience. Tears just poured down my face most of the time and I was ready to be cynical, but it just happened. The chief theme, for me, was this woman’s immovable and great love, which caused he, with her last breath, to help her husband find a way to be happy, give a gift, teach him how to love and live, after she was gone. She wanted to give him this great thing, happiness and a creative outlet, a path to joy. It made me think of what my grandma had done for me and for my daughter, and my mother, and how she got better at giving and helping and supporting as her life went on, and how she became totally unselfish at a time in her life when she could, and how I misunderstood her for so long. About healing old wounds and forgiveness. About love and remembrance.

It has been a long road in my family. Not the road only traveled by me, but the road the women who brought me up and influenced me, have traveled on. That’s where I am to some degree-where they have left me to continue. I think I have a clearer direction of what that is meant to be and how it is important to pass that down, somehow to my children. Now I have children, and they will travel on. That’s family and perpetuity. Crazy, but true. My grandmother was a far better person than I am in many ways. Sometimes, she seemed perfect. I remember her when I was about three or 4, visiting us in Florida. She stepped off the plane, and I saw her approach as we waited in our car, in a black knit suit dress, single strand of pearls, dark red hair swept up off to the side, arched eyebrows, simple and elegant, slim and graceful. I remember her soft tanned skin and her beautiful eyes, and I remember how she smelled. I thought, is this my grandma? A grandma? Not what you’d picture. Loretta. My mother’s mother.

My grandmother passed away August 21, 2014.  She was 94 years old. She had a very full life and liked nothing better than music, singing and dancing, the outdoors. She was born in 1920 to a mother of Bohemian descent and a father of German and Austrian descent. They had twelve children. One died then. My grandmother has outlived nearly all the rest. I think she was like the best kitten in the litter. Everyone wanted that one and they all resented her. As a payroll master of the mines in Coal City, IL they had to scrimp and save. She was quite a woman and he was a very much loved character. I think he loved none of his children better than the resourceful and beautiful Loretta and he loved my mother. He loved me, too. Otto Meischner and Lara Eleanor Sistek, and Loretta Mae Meischner. I never knew her by that name, and there aren’t too many pictures of her from that early on. It is hard to imagine her wild and skinny, a poor child running the hills and hollows of Illinois, by the river. But that is where she grew up and where she always lived. The furthest she went was California, with me. She liked her home and she loved her mother and father.

My grandmother was an extremely beautiful woman all of her life. At 94, she still had the body of an eighteen year-old-hard to believe, but true. Hers was not a life (always) of abstinence, but she would say things like, “I haven’t eaten ALL day, so now I can have a sundae. Do you want a sundae, too?” She was not brought up with very much, so she learned to sew so well, she could look at you, size you up, and whip out a copy of the latest suit or fashion. She had long fingers and they flew! Of course this lent itself to other artistic/creative endeavors, such as playing musical instruments and hairdressing. She could turn your curls onto her fingers and make them just so long and pretty. She was very difficult to deal with at the hairdresser’s. I remember looking at pictures of my mother, when she was little, dressed up in costumes, to the nines, twirling and dancing on the roof like a dervish-a product of her mother’s designs. I thought she was so pretty and professional looking, but my mother hated being made up, sitting still, and being dressed like a doll, but my grandmother would have the prettiest doll. She bragged about my mother’s dancing, was a real stage mother, and took her to classes, as she as a little girl had been unable to afford them, so of course she wanted her own daughter to do the things she wished she could have.My mother wouldn’t cooperate, but she did love to dance and she, also, was good at it.

But that didn’t mean she didn’t learn to dance! She danced incredibly well, was naturally limber and at 89 could still kick the back of her head with her pointed toe. As a little girl, she and her friend would wait outside the dance studio and when the other little girls came out, she would sidle up to them, get them to teach her what they did and how to do many things. Not surprisingly, they were a little peeved when she could do them better! She had an aunt (her mother’s sister) that danced in the theater, and traveled as a dancer with a company. When she was little, that aunt (Mary) invited she and her mother to Chicago to see her perform and it made an impression on my grandmother, who was always active physically and athletically gifted. She taught herself everything, but she knew how to dance properly-I do not really know where she learned it, but she did. Maybe she learned a bit of it from the movies. She would sing, and play guitar and she and her brother would put on little shows with dancing. They ice skated together and swam. She was also a champion swimmer. I guess her father felt she took after him-he spoke twelve languages fluently, did calligraphy and was an unbeaten bicycle racer as well as being very intelligent he had an irascible wit. She was my grandmother. She was a big fan of the movies, so my mother saw just about all of them, and when my grandmother got it into her head that my mother would dance a Spanish variation, she sewed a dress entirely of crepe paper with layers and layers of red skirt which outshone the brightest costume of the event. My mother must have enjoyed it, and was very supportive of me in dance, in a different way. I think she felt she could not be the kind of mother her mother was, and she must have always been living in that shadow. My mother was the best mother for me. I was shocked when my grandmother mailed me, as a teenager, her harem costume, that she had sewn, from the movies, like the ones in La Bayadere and the Nutcracker. It was so authentic, probably from her imagination, but she wore it!

She used her gifts to the best advantage she could. Around her a light shone, and she was happy. Her lack of wealth never stopped her. but she did increase it by careful planning and saving. When my mother passed away in 2009, and after her husband died, my grandmother made a very big move and decided to become a part of our very different family over a thousand miles away. I admit, I had not known my grandma as well as I thought I did. I did not know she had such gumption, was such a lady or was so intelligent. I always though of her as a pretty grandma, but not being mature, did not recognize her sharp intellectual capacities. I did not see her for the person she really was, nor my mother, and my grandmother has helped me to see that. It took this long. A different kind of smart and sharp. Always ready for the new and the pretty, fiercely competitive, and a real survivor. So, for the last five years, she has lived with my family. She seemingly took the place of a much loved grandma, and for me this was helpful in what would have been a very depressing time for me, but it was not always easy for my children, though I think in the end, a good experience. I began to know, really know, and understand my mother’s mother, and my mother in a way I had not been receptive to while growing up. Together, it made getting through my mother’s passing easier for both of us, and we shared our similar grief. We forged ahead, and I learned there is much more to life each decade, and it does not have to stop at fifty or sixty. The picture above is of my grandmother in about 1979. She would have been about 60 years old. That was now almost as long ago. Not quite, but it seems like a long time. That light was never dull-not for a moment! She brought into our home, as much as she could, what she could, spread her love around and was there for us, and I hope we, too were there for her in a way that she needed. She stayed with us and filled to capacity (almost) that void, so intense was she. It was a coincidence, really. She was ornery and mischievous, and she has filled my life with her presence, making things possible that never would have been otherwise, for all of us, but especially my daughter, whom she gave money to start taking ballet lessons. She wanted her to. My mother would have loved that she did that, but she never knew. Each time my daughter had a performance, a costume, or a new step, my grandma would want to see it, share in the excitement and moment of it, and even went to her early classes, gave her corrections.

So, besides bringing my mother into this world, and all of the other things that she has done and accomplished, without her, I would not have been here and developed the appreciation for dance that I have. My mother would not have been the compendium of ballet knowledge that she was and taught me the things she did, a way of looking for things, that she did, and encouraging my own creativity. My daughter would not have probably ever started ballet because we just simply could not afford it. My sons would never have been supportive of it. It’s hard to find the thread, but when following it, it always comes back to her. I hope one day my grandmother’s creative legacy continues and we create a long continuum of dancers, and they will all be there in some small part because of my grandmother’s great gifts and legacy to each of us.

My grandmother was a perfectionist. She did nothing and finished nothing, that was wrong, always right. Every morning every hair was in place, she was always the best person she could be, inside and out. She always wanted my mother to be like her, and my daughter to do things correctly, and she always wanted me to have a better life. It seemed to be her especial gift to always look serene and graceful. She always took great pains to perfect things, to learn things every day, and to make everything around her more beautiful, and those around her, and their productions-whatever it was- paled in comparison. Her haters attributes and hearts were sometimes less, and they resented her- often they were jealous and mean-spirited, even into death, but my grandmother said, “Hooey!” and “That’s a shame!”, but never stopped for a moment to allow their negativity steal her precious moments of happiness. She was always kind and gracious and never said a bad word about anyone. She thought that a waste of time and she went right on, improving herself and making the area around her even more beautiful. She led by example. I truly learned a lot from her actions and her consistency of behavior, but I had no idea she was so tough on the inside. She had real mettle.

Knowing her better has made me understand my mother and myself just a little bit more, and I do not feel so removed from the chain as I once did, now I see how my mother was like my grandmother and how I am a little like them both, and I would not change it for the world. Once upon a time I did not feel that way. I thought myself different, removed, even above it. My grandmother told me right before she passed away that I was beautiful, as though she had always known I had thought I wasn’t. Maybe she wanted me to (finally) know she thought I was or maybe it was the nicest thing she could think of to say besides “I love you!” She said it repeatedly over and over a night or two before she passed. Right up until the end she would not relent. She really lived fully to her last breath. There is a lesson in that for me, and if I can keep up with her, even a bit, then I am going to be fine. But I had better try. She had a true lust for life and loved all of it, and everyone, not just the good. She always learned from the bad, she said, so whenever something did not go well, she changed it, made it better next time, improved it, was nicer-whatever it took. Behind what some people might have thought was an average ability and intelligence was someone who was the most composed fighter-a real champion-that I have ever seen. I hope she has gone to a place where she is free and her spirit is released from the chains of the earth, knowing no bounds. I will always remember her dancing. They say none of us is perfect, but she was living proof that you could try.

I saw a little dragonfly today, buzzing around me and I thought, perhaps her spirit inhabited it. I do not know what made me think of that, but I would like to know she was watching over us all, and doing what she loved and making us remember to do keep trying to do better at it all.

 

How To Get One Classical Ballet Look For Nutcracker!


 

Better get ready-channel also has a video posted for making a classical Russian bun. Keep on Dancing!

Who knows?


Balthasar de Beaujoyleux                                                                                Who this is in the picture (etching)? Hint: He’s French.

 

Who uttered these apropos comments about me? They will be sued with libel! La!

Between memory and reality there are awkward discrepancies…

I am not eccentric. It’s just that I am more alive than most people. I am an unpopular electric eel set in a pond of catfish.

Word spread because word will spread. Stories and secrets fight, stories win, shed new secrets, which new stories fight, and on….I WILL SEND <A CHECK FOR $5 TO ANYONE WHO CAN NAME THESE VERBOSE WRITERS>

 

Why Irina and Max do not get as much credit as they deserve for actually dancing properly, beautifully and expressively-I mean, they are GREAT!

This is a video of Irina Dvorovenko and maxim Beloserkovsky doing a pas de deux-

http://www.yourepeat.com/watch/?v=qJhbMzCtBH8&start_at=0&end_at=404

 

When Jacques D’Amboise’s birthday is – here is a link http://www.care2.com/ecards/ for everyone to send him a free card celebrating our love for him and his accomplishments in dance education and humanitarianism in ballet education-also his wit, intelligence and sense of humor. He really is a brilliant and funny guy! If you do not know who Jacques D’Amboise is you can look him up here  http://en.wikipedia.org/wiki/Jacques_d%27Amboise_%28dancer%29  and here  http://www.kennedy-center.org/explorer/artists/?entity_id=3716&source_type=A  – Also, if you are looking for a charitable cause in ballet worth contributing to, here is one of his- http://www.nationaldance.org/about_founder.htm  Who knows how long it took Jacques D’Amboise to realize his dream of the National Dance Institute, and when was the date of its first inception (into the NYC Public Schools)? http://vimeo.com/29052643

That Indianapolis is hosting an international ballet competition? http://indianapoliscityballet.org/events/indianapolis-international-ballet-competition-2015/

 

That these are 5 to read books (for dancers/balletomanes) on the website of a ballet blogger:

1. Mao’s Last Dancer by Li Cunxin

2. Outliers by Malcolm Gladwell

3. So you want to be a ballet dancer? by Jennifer Kronenberg

4.Anatomy, Dance Technique & Injury Prevention by Justin Howse and Moira McCormack, and finally (drumroll!)

5. The Everyday Dancer by Deborah Bull

In addition, I might add, books by the author compiling her many years research and knowledge into the subject of ballet (Volumes 1-4)

Cupcakes & Conversation by Cheryl Angear

It looks like a good Christmas list to me, and I would try the UK bookshop http://www.elizadawsondancebooks.co.uk/

 

WHICH IS CLOSING DOWN THIS MONTH SO EVERYTHING MUST GO-HURRY!!!!!ORDER NOW!!!!!

The brief history of the tutu per http://sheris-musings.tumblr.com/post/32761192624/tutustyles

 

What Sergei Polunin is doing now?

 

 

 

Keenan Kampa: Russian dancing


Keenan Kampa: Russian dancing | The Economist.

Christina Applegate is a ‘dance mom’ – mysylph reveals!


Christina Applegate is a ‘dance mom’ – xinmsn Entertainment.

Risky Activities – Russian Mafia – Drinking Alone – Esquire


Risky Activities – Russian Mafia – Drinking Alone – Esquire.

Martha Graham said…..


Nobody cares
if you can’t dance well.
Just get up and dance.
Great dancers are not great
because of their technique,
they are great because of
their PASSION.

-Martha Graham

I Write to….


I write to imagine things differently—
and in imagining things differently
perhaps the world will change.

—Terry Tempest Williams

Corrosively Criptical


I want to do so many things and I have so many ideas, still at my age, if anything, I have more-they are undone. I want to do big, great things. It is like when you watch a movie and some part of it takes you away somewhere else, and you watch that movie to go to that place, as a form of escapism-I don’t always watch movies over and over-but a few I do-then one day, you have watched it so much, and you know exactly at what part you reach that nirvana, and it is over too soon, too fleeting, and you suddenly realize that it is not real. It is not your life, you are not the one getting away, and you need to do something like that, but you need to do it. Not watch it.

I switch from books to media, to music, to puzzles, to writing, to doing, but I always have to do so much to keep my mind sharp, that I do not really just put everything down and do things. For one reason, when you get out of school, you have to work-you do not get to read as many books, write as much, or make art as much, because you have to work. The period in which you are expected to do something, or show you can do something so that you will be picked to do more somethings is very short in school, and if you view life as having to be decided upon before you  mature, then not only is their more chance for you to change your mind about what you really wanted to do, or find out what that is, but also it decreases the number of people educated enough to do anything important. In other words, more education is better.

It takes years of practice to do anything really, really well. Short of perverse genius, some people who are picked to do things based on childish endeavors continue to produce nothing of consequence, whereas, someone who might not have had time to develop into greatness doesn’t get the chance.  Other times it is the person who is pinched (Nureyev, Makarova) that has the drive and ambition to make it and be better than anyone else. I do not think there should be an imaginary window or so much pressure to be picked to be someone’s muse at an early age. A dancer develops into an artist or they don’t, but it takes TIME. I think the lack of truly great artists has a lot to do with the pressure on young students to get somewhere, and be something, before they have had time to develop into anything, leaving them feeling flattened if they don’t do something quick. Yes, this happens to so many people, and I think it retards or stops people from studying dance for longer. “If I haven’t become this by such and such a day,” is nonsense. Surely, people do, but becoming great with all the opportunity in the world, all the gifts and all the right teaching, doesn’t happen often, and if it does at all, it is through years of continuing to develop, actually. I do not think greatness can be measured in ones so young or that it should be expected of them. And one thing all great dancers do have in common is that they don’t quit!

I told my friend today, again, “the sky’s the limit!” It should be and you choose your words very carefully with children to encourage all of them to do their best, and no child should be out of the running. Some of us are very conscious of that, as educators, and parents ARE educators, but somehow, some educators (teachers) even parents, are not. An elitist program can be a problem, but there are dancers who now currently have more talent, but one day, many other dancers will “catch up.” I am for more opportunities for all dancers to do that, one way or the other. I think if more money was spent by parents, and other people with money, on improving children’s chances of learning to dance, get them off the street, out of their cafe lifestyles and into a path of discipline and increased self-esteem, respect for the arts, there would be more and better dancers, opportunities for those who are professionals looking for work, and more tickets bought by ballet aficionados to ballet performances because they would not be adverse to going. An example is my son, age 27, who will sit through a ballet performance because he took class for a few months and respects the hard work. Everyone in ballet takes something away from it, whether they are a new parent helping for the first time at a backstage show, or an usher who gets to watch all the performances, or a cinematographer who is rapt by the precision, sweat and myriad imagery to capture and relate. Everyone is pleasantly surprised by ballet and dance. Surprised to find they like it.

Despite efforts of people to make art with ballet, preserve the integrity and meaning of its movements, teaching, choreography, costumes, in different periods of history, ballet breaks down. Like a car on the road it needs a tow, a repair, maybe a rehaul, to bring it back onto the road and getting the attention or use it deserves. There are constant discussions about ballet and a legion of fans across the world and yet how many actual dance performances can you say you viewed this year in person. anything done for or in the field of ballet, requires notation, the libretto, the photos, the video, the distribution, everything, because it is an art of the moment. Dance. But in order to expose yourself to art, you can walk out on any Thursday night in most beach towns and get a glimpse of it, you can hear music, taste food, wear fashion, and reading material abounds, but dance you have to sit through and watch and go see. You have to go to the theater to do this and like a live performance of music-nothing compares. It is okay to watch it on tv, Vimeo, YouTube, in theaters on enormous screens, but it is eminently better and more exciting to sit in a seat (any seat) at the theater and watch ballet being performed live. It, after having been to the theater, will enable you to get up out of your seat and start to dance, and suddenly, watching dancers perform live, you realize it is real, and necessary and important.

One of the most important aspects of education, being an educator, is putting aside the customary snobbery that might accompany considering oneself an expert on something, vastly experienced,  knowledgeable or wise and give one’s students the benefit of the doubt, equal opportunity, and chances, repeatedly to prove themselves, opportunity to improve, and practice. The bad get better, but they can also learn other things. I have learned from being able to do things, or not being able to do things is always a state of mind, frequently. The handicapped can learn from dance, the geek, the tomboy, the football player, the debutante, the delinquent. And in a supportive environment these children can be taught to dance correctly, to work hard, to see aspects of art like line, symmetry, and composition, that they would otherwise not be able to comprehend at all, through an activity that most of them can never consider boring. They also learn discipline, social graces, about music, costume, stage design, choreography, scenery, acting, and it can lead many of them to pursue careers in the arts which are supportive of the expressive movements, whether it be acting, film, tv, dance, music, etc. There is art in everyone and a need to express themselves. It is always the best part of me, and the most intimate, which I bring to a choreographed work, and to be able to compel and persuade, and enliven, invigorate, and reach people through a performing arts medium is most gratifying and rewarding. It affirms in us that we are individuals and this is a lifelong self-esteem booster. it can be what gets a fat man off the couch at age thirty when he has let himself dissipate, or a woman, in remembering what he felt like working hard and creating in dance. It can be continued throughout life, and dancers age, but they can keep right on dancing, just like pregnant women.

But in the beginning of any growth of a movement must be organization and structure, and big, BIG thinking, to get an idea off the ground. it can be deflated if enough energy is not instilled into it, or if enough belief is not created, and that makes promoting it and perpetuating it a big job, too. Lots of people have worked hard in that field and created good shows, but they have lost their momentum, believing it need to build, grow, but without resources, it can’t. It is human energy which makes all things grow, and life needs to be imbued into the substance of a thing to get the ball rolling and the energy expended to propel it in any given direction. Without the interest, dedication and true spirit of invention involved there is no momentum, no human energy. So in order to speed things up, get the ball rolling, you have to excite people. There is no point in flogging a dead horse or dealing with people who do not share your vision exactly. They will hold you back, prevent that energy from multiplying and creating the momentum necessary to catapult the vision or dream into the atmosphere and into tangible presence-reality. Without the big bang, or a ton, of life and energy, our people, environment and planet would not have been created, and it is exactly that which can be taught in the studio of a ballet class, things can happen and do, but it is not all about a defined end result, sometimes the energy happened in the process, develops, and momentum of each individual is nurtured by their teacher. A lot of little pops eventually produces a big pop and competition is essential-not negative, debasing, and judgmental competition, but life, energy and momentum, better and better and better! So it is important to stop thinking sometimes and just dance, try, and imagine what the possibilities can be for all children in dance and by each of those children themselves to be allowed to dream, because you never know where the momentum is going to come from. Diaghilev said he could not dance a bit, but he was inspired to take dance to a level the world had never before experienced it, and it was not just the dancers of the New York City Ballet that made those first shows and created that company, it was the patrons and subscribers who came to see ballet inserted between acts of vaudevillian fare, who simply learned to appreciate ballet by exposure to it, and in the same way, when you put a group of children in a room to teach them dance, kinetics occur and develop, which grows upon them and movement ensues, through which they learn to appreciate art in all its forms, and expression and communication. Simple physics really. Mass x velocity. No conservation! Does anyone want to stand in the way of the force of that collision? Keep on dancing!

 

Shakespeare’s Plays Are a Natural Fit With Dance


Shakespeare’s Plays Are a Natural Fit With Dance – NYTimes.com.

-O-


It is this mission of the dancer to contribute to the betterment of all mankind.

~Ruth St. Denis

▶ Ballet Evolved – Auguste Vestris 1760-1842 – YouTube


▶ Ballet Evolved – Auguste Vestris 1760-1842 – YouTube.

Even though I disagree with her statement that they counted the movements separately-there is a lovely work here by the male dancer of the RB. The music is accurate, but I think the jumps were even higher, there were more crossings and it is pretty well agreed upon that Gaeton Vestris was of virtuoso skill and his father, Auguste, and Noverre, suggested that he combine his three great abilities: large jumps, quick footwork and multiple turns-which was a combination of styles and not the norm, but never seen together-so a new repertory had to be created for him, combining character roles and colorful athletic roles, dances serieux, comique and demi-caractere….I write about this in my book, Chapter 2 (Danse d’Ecole).

The Winter’s Tale: A background to Shakespeare’s play (The Royal Ballet) – YouTube


The Winter’s Tale: A background to Shakespeare’s play (The Royal Ballet) – YouTube.

 

Lovely play, lovely ballet….

▶ Monica Loughman’s The Children of Lir (Work in progress) New York City – YouTube


▶ Monica Loughman’s The Children of Lir (Work in progress) New York City – YouTube.