Tag Archives: General Dance Discussion

How To Do Pirouettes; To Be or Not To Be on The Leg

How To Do Pirouettes; To Be or Not To Be on The Leg.

Gene Kelly & Fred Astaire – YouTube

Gene Kelly & Fred Astaire – YouTube.

The Band Wagon – Fred Astaire and Cyd Charisse – YouTube

The Band Wagon – Fred Astaire and Cyd Charisse – YouTube.

The Most Genius Ballet Dancer Ever – YouTube

The Most Genius Ballet Dancer Ever – YouTube.

Amanda McKerrow performing Pavlova’s Dragonfly – YouTube

Amanda McKerrow performing Pavlova’s Dragonfly – YouTube.

Amanda McKerrow performs Pavlova’s Californian Poppy – YouTube

Amanda McKerrow performs Pavlova’s Californian Poppy – YouTube.

Goodreads | Quote of the Day for April 19, 2013

Goodreads | Quote of the Day for April 19, 2013.

The Incredible Edible Egg

Keep on dancing!

The egg is considered by many to be nature’s most perfect food: contained inside that little shell is a perfect source of protein (all nine essential amino acids) and an explosion of nutrients. And that old myth about the yolks being bad for you? Not true. In fact, the yolk contains almost all of the vitamins and nutrients of the egg; it’s arguably the healthier part of the egg, full of carotenoids, essential fatty acids, iron, and vitamins A, D, E, and K.  Check out the table comparing yolks and whites below.

Separating whites from yolks is another one of those weird food fads that makes no sense. Nature makes this perfect little morsel of nutrition and tastiness and the only fuss we need to make is in learning how to prepare it. (For safety cooking tips, see here.)

Most people think of eggs as a breakfast food: scrambled…

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Summer Dance Intensives 2013

Summer Dance Intensives 2013

I am just starting this, I guess it is predictable in a way, but I hope it will influence those who view it as a pictorial description of interesting Summer Intensives. How they are reflected to me-that is about the closet I can get to the truth….Slowly, but surely.

Moving On

I have written a lot of posts now. 101 or something like that.Often, I do not have technical information to pass on, but my post is really not about that-it is just a lot of research, knowledge and regurgitation of what other people write-somewhere. To me that is bordering on copyright infringement (yes, I have a conscience). Perhaps, I feel that trying to give too much technical information about injuries (I’ve had them) and what to do for summer intensives, and how to become a ballerina are far-reaching topics, that require specific information abofut the people who might be receptive to them, and cautiously, I guard my advice. It is not my endeavor to help other people, but rather to help myself, and I certainly do not want to give misinformation to anyone out there looking for the truth.

The purpose of this blog is to compile information about dancers, and so far not one person has responded to my request for information about why people dance, what motivates them to start/continue (at any age), share the highlights of their dancing career, and report to people who might find this information interesting, useful, or inspiring. At best, I hope that, eventually, some people who read this will take the time to respond so that I might share their post with the world of dancers, which may grow, and from which, we might all see the sort of private life of dancers that at least I am interested in. What makes them tick, why they go for an art/sport which is highly competitive, results in injury, and may leave them destitute and possibly unappreciated at some future date.

The positive side of this manner of research is to hear from the dancer’s themselves about their lives, their highs and lows, their accomplishments and their methods of perseverance in a field so ripe with jealousy, rejection, rewards, joy, freedom, discipline, a real mystery to me, is why some dancers continue to seek perfection of the sylph and why some don’t. I suppose, to me, this might be the same as the root for people who stop drawing, never try to sing, are afraid to stand up in public, or don’t dance in public. There are many taboos in society for casual dancing, as there are many rules of etiquette for the ballet studio. It seems sometime that if people followed the simple rules of etiquette in the ballet studio, in life, many problems of society might be followed: why do damage to the sacred temple, respect your teachers, respect each other, be quiet, strive to do the best you can, learn all the rules before you break them, always say thank you, and come to class in clean attire with your hair neatly back. I am not sure why dancers gravitate together, but they do, they have, and they probably always will. It is like a religion for them, and they are wiser from their experience.

It is a shame when business comes into the studio-it is entirely expected for anything coming out of it to be fair game for capitalists. But the studio is a sacred ground and there ought to be someplace in everyone’s life for peace, for digging deep into oneself and being the best that one can be, strengthening the body as well as the soul. Perhaps, I am not so concerned with why people dance, but why others don’t. Keep on dancing!




Isadora Duncan’s influence on Pavlova, Diaghilev, Nijinsky and Balanchine Among Others

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A photo from the U.S. Archives which demonstrates very clearly Isadora Duncan’s, and other modern dancers, influence on ballet. You can’t say “choreography” without saying “dancers” or “ballet” as they converge, effect each other, and dancers dance, to some extent, what they want to or what the can.

This is a pretty rare photo, but now, we can see that perhaps Anna Pavlova did not really hate Isadora Duncan after-all, but instead was influenced by her, tried to channel or feel what Isadora felt, what modern dance was, or her choreographer was interested in it for this piece. We see it finally because she danced it. She agreed to do it. That makes it important to ballet. What a dancer agrees to do (and does not agree to do) ultimately defines them to their audience, defines their art, and history, especially when you are discussing Anna Pavlova.

But in relation to any dancer, they will be seen to be a certain kind of dancer, expected to perform certain roles, become skilled at those and roles like them. Obviously Pavlova went back to classical roles and swore off modern dance. At least for her life, this was not what she was good at, excelled at. One needs to know oneself and one’s limitations, but that comes with experience. Expansion can mean growing into an acceptance of what your roles could and should be in dance, or it can come to mean limiting yourself to perfection of one type of dancing. Being an expert at one thing certainly raises the level of expertise required for that genre. It increases your ability to dance those roles.

Most importantly, if you are determined to dance certain roles, certain ballets, certain parts, then you need to learn those parts, become expert at them, so that no matter your deficiencies, people will say, “but she/he dances those parts better, even if she/he is not this or that. But if you do not specialize, then perhaps you will never be good enough at one thing to qualify even for that. If Pavlova had not been skilled in ballet, had that not been her passion, we would not have been fortunate to have come to understand her legacy a little better, and while she had the option to become more skilled, at a later age, in other forms of dance, she did not do a 180 and perform modern, or try to find herself in it.

Even with poorer choreography than Diaghilev could provide, she continued to astound audiences with her versatility and drama, as a ballet dancer. She truly was an ambassador of ballet. Something must also be said about modern dance here, the characteristics of it, the difference between it and ballet, are wide. Isadora Duncan could have suddenly said, I want to be a ballet dancer. But she did not. There was unquestionable an attitude and freedom in her approach to dancing, her naturalness, her languor and beauty (she was a very beautiful woman), her form and development in modern dance, which gave her an advantage in performing her roles, her choreography, and she danced to a different drummer, literally, different music.

She was right and Pavlova was right. Two experts, a long time ago, who felt that you had to make up your mind, pick a side, choose, two purists. I do not think choreographers today understand dance very well, for they are not able to separate or merge the two dance styles (usually). They are greedy, and dancers are too, so no one is perfect today in ballet, because they try to do too much. Be the star on every stage. And yet, even with the most sought after choreographers, some dancers just do not enjoy that success. Great ballet dancers fail at exploring new styles, new techniques, and they are simply not the best.

But, by taking on roles that minimize, instead of maximize, their abilities as ballet dancers, instead of having new ballet roles made for them, their performances are not what they could be. At thirty to forty years of age, these dancers should be reaching a point where they are true artists, and yet the barre for true artistry is lowered. There are some artists, such as Natalia Osipova, Darcy Bussell, Tamara Rojas, etc., who have remained dedicated to their art and may possibly reach a point, historically, where their body of work is respected and exceeds more publicized dancers, simply because they knew their limitations and they stayed within the parameters of their expertise longer, trying to reach a point where they were consummate in their art. It is not today that they will be judged, but tomorrow, and in the annals of history, where we are not yet and cannot say whom will leave what.

How will they all be credited? More is needed for women to make a mark, when before them is opportunity to travel, to reach out, to grow, to direct, choreograph, produce. What will their choices be? Will they stray from the path of their strength, give up, or will they take the torch, the flame and finally bring something monumental back to ballet, the genre that gave them their careers, their fame? Or will they dabble in other forms of dance, leaving mediocrity in their wake, when they could have developed classical ballet, and ballet, a big step further in order to safeguard it as Vaganova did.

So when you are in class, or studying ballet, pick a side, and win or lose, cling to that vision. For is you are true to your vision, you are working not only toward what you believe in, and love, but you are setting a precedence for what will be your strongest form of dance in the future. What do you want that to be? Don’t let rejection, or all of the opinions of others set your path. For the path you choose will probably be the one that survives with you, the one you will know best, and will propagate. If there is one you prefer, no matter what others say, follow the choice you will be able to live with and embrace.


“What a strange…

Yachounomori Garden, Tatebayashi-shi(city) Gun...
Yachounomori Garden, Tatebayashi-shi(city) Gunma-ken(Prefecture), Japan 群馬県館林市 野鳥の森ガーデン (Photo credit: Wikipedia)

“What a strange thing!
to be alive
beneath cherry blossoms.”
Kobayashi Issa, Poems

Isadora Duncan, Part IV

English: Urn-grave of Isadora Duncan in the co...
English: Urn-grave of Isadora Duncan in the columbarium of Père Lachaise Cemetery in Paris. (Photo credit: Wikipedia)

Though this may seem a little disconnected from my first speeches about the importance of Isadora Duncan, halfway through her autobiography, I felt compelled to sit down and write again about her vis a vis my impressions of her book. Fortunately, I will not lead the reader of this on a page by page review of the book, and I can’t, sorry to say, even if I tried, for she did begin to drag a bit, or maybe it was me. But, little by little, she left me thinking each time I put the book down, looking eagerly for the mood to take me so that I might pick it back up again in the spirit she wrote it, and read on.

She does rub off on you. Isadora Duncan was a very unique woman. I found out I admire her greatly and can see, why she elicited from bystanders such a response. No movie could really convey all that was monumental in that historic and eventful life, such is the nature of a movie, an essence-one perspective, and to dwell too much on the fascinating personage she was, or her lack of training as a writer would be to judge and diminish what I really feel is a great book. I am drawn in and repeatedly drawn back to find out what incredible journey will next unfold. No life of shorter duration could possibly have been lived with such perspicacity. I will let those who wish to read about her, do, and those who do not presently find themselves interested in or able to, don’t. I will say that some of the names of those famous and infamous she encounters include painters, philosophers, dancers, impresarios, musicians and venerable, one of my particular favorites was Pavlova, and Stanislavsky.

Also, I will mention in Russia, she found acceptance and her descriptions left out much detail that I would have liked to have known more about, heard more of, but these extraneous sentiments that flitter through the pages of her memoirs seem to be like tastes of delicacies that have motivated the life we are reading about, her book, were prompted by the doing of the writing of her book, and were influential to her. Her accounts of her lovers, loves and pain are concise and matter of fact. She was not a hateful person, did not have time, I believe to waste her energy on the pastime. Her portrayals at first seem vapid, and gawking, too much like an engenue in reverence to those she wishes to impress, and later, her perspective of their greatness diminishes, or is replaced by the observations of an equal, wiser and more experienced artist in her own right. There is no doubt that Isadora was a great artist, and influenced the world of dance, and not just modern dance-ballet. At once she is passionate about the people of Russia, how business seems to leave the conflux of her ideas and is replaced by her thankfulness of their deep appreciation of great art and finally a place for her (possibly) is considered. For us westerners, it is as if a closed door of great strength and impenetrability is flung wide open and its rich desserts apparent at last; the mystery solved, for they welcomed her with open arms into a glittering world of the paparazzi, the rich and decadent world that was art in the beginning of the last century, ecstatic to embrace new ideals, and Isadora’s impressions are nearly surreal in their intensity. She seemed and acted as if in a dreamlike state and was overwhelmed.

From this first visit came the momentum to finally open her school and to pass down the 500 or more specific exercises that were to form her actual technique, and as well certain facts about her motherly instincts, the blessing came with the droves of children who applied for admission to her school upon the announcement of its opening in Berlin. She took in many orphans into that school and invested her accumulated fortune in it. One idea passed onto the next in her life, impulsiveness was one secret of her success, and she accomplished so much in so short a time-she lived just fifty years. I am fifty this year-me and the James Bond movies. She never let the knock of opportunity go unanswered, even if it was whimsical, unconventional, mythical, fantastical or animalistic. She was truly led by her id, and aware of her power as time went on.

It will disappoint readers to find, if expecting debaucherie and promiscuity. None really, so far. But she did seem to come into her womanhood later in life. She had great self-control and as she aged, she found less and less in men her inferior to rouse her desire, and fewer men of her own equal not intimidated by her charisma and intelligence available, or willing to commit to her brand of life. Her descriptions of her impressions of experiences, childbirth, and her first child deserve a second read, and are sadly omitted from any self-help/guidance books I have seen passed along by mothers, and her perceptions are fitting if not couched in euphemistic terms. So much in fact, that to say she is frank would be a disservice to her. She is honest, I believe, and I can barely read her discussion of her feelings toward her lost children, without true empathy. Of motherhood, she says,” The baby was astonishing; formed like a Cupid, with blue eyes and long brown hair, that afterwards fell out and gave place to golden curls. And, miracle of miracles,that mouth sought my breast and bit with toothless gums, and pulled and drank the milk that gushed forth. What mother has ever told the feeling when the babe’s mouth bites at her nipple, and the milk gushes forth from her breast? This cruel biting mouth, like the mouth of a lover, and our lover’s mouth, in turn, reminding us of the babe. Oh, women, what is the good of us learning to become lawyers, painters, or sculptors, when this miracle exists? Now I knew this tremendous love, surpassing the love of man. I was stretched and bleeding, torn and helpless, while the little being sucked and howled. Life, life, life! Give me life! Oh, where was my Art? My Art or any Art? What did I care for Art? I felt I was a God, superior to any artist.” And she said she was not a writer. There is more, lots more, where that came from. Words from a soul which felt life so intensely, and could express it, that I am almost scared to continue, expecting tears at the end.

But that is just the book and really does not give her enough credit. She wrote other little books apparently and now I feel it is my duty to seek them all out and read every word. Not just the books, but the exercises, the choreography, her words, her guidance. I am not convinced that she is ably represented by her followers, who try as they might to capture her presence and her spirit in their copies, cannot possibly convey what Isadora managed to, upon those who witnessed her. No wonder imitations paled and fell by the wayside-no one could recapture her. She applauds gymnastics as the first preparation for the dance and compares styles of it, denouncing some and upholding others, but she states that this is merely the basis on which a body grows healthy, and I think she means by exercise in general (and ready for more specific teachings in dance and steps and the interlinking of music in those steps is explained in pretty good detail). Then she refers to the mind becoming the art and the body a sculpture with which expression and feeling alone can bring to perfection, through art, living and nature-rather Pygmalionesque- but I won’t explain any more details here, and will continue reading hopefully providing a few more impressions at the end. Keep on Dancing!


Central School of Ballet London 1.wmv – YouTube

Central School of Ballet London 1.wmv – YouTube.

| The blog for The Dancer’s Toolkit

| The blog for The Dancer’s Toolkit.


I would love to share this lovely and delectable blog for dancers and foodies-how can you do all that exercise and NOT eat. Each entry is wonderful! Keep on dancing!