I hear significant discussion about learning ballet dance at home without a teacher. Even by persons who aspire to professional ballet performance, starting at a late age. This is thinking in a bubble. Instructional ballet videos, and ballet theater performances are excellent learn-at-home guides, if your own ballet is done in a dance class.
You cannot learn ballet at home without a ballet teacher. Experience with gymnastics, Pilates, or martial arts, will not help you learn ballet by yourself. It WILL help you learn ballet, in a ballet class, and help avoid dance injuries.
Body awareness, physical strength, balance, flexibility, all contribute to learning ballet. But not without a ballet teacher. Don't get depressed about this, every problem has a solution.
If you love ballet, and if you love yourself, take ballet with a teacher. Don't waste time with instructional ballet videos or dance manuals if you don't have a ballet class.
Ballet teachers also buy teaching manuals to learn the finer details from. Does this mean anyone with no dance background can buy one and start ballet teaching? Of course not. Same for ballet training. You need someone to be watching your ballet positions, ballet movements, and ballet technique, and correct you.
If you have gained discipline and strength from some other training, that is wonderful. Look back on that former training and ask yourself, could you have learned all that by yourself at home from a DVD?
If your problem is lack of money for dance classes, ask your parents if you can find a way to change their budget, as in, what they spend on you. Would you be willing to wear cheaper clothes, or do you have to have the finest fashions? Would you be willing to get a job? Do some local babysitting? Even if you are under age to work, in most places your parents can get you a work permit. Is it astonishing that I would suggest this?
Would you be willing to learn to make pizzas for your family instead of ordering in? Or anything else like that? These ideas may sound silly to some, but if you're really serious about ballet classes and you show a mature approach ("I am willing to give in order to get") to your parents, they will probably respond more enthusiastically.
So, I have not given any instant solution here, but you will find one. Don't waste time feeling depressed if you think you cannot get into a ballet class and have to accept that you cannot learn ballet yourself at home. Just get a strong focused intention started toward getting what you want. Once you are in a class, progress faster with THE BALLET BIBLE which explains classical ballet technique, and will help you avoid dance injuries.
Showing posts with label avoid dance injuries. Show all posts
Showing posts with label avoid dance injuries. Show all posts
Sunday, January 4, 2009
Tuesday, November 4, 2008
A Professional Attitude For Ballet and Dance Students
Teachers in any kind of child, teen, adult education or college classes need their students to have basic good manners. Listening, not disrupting the class in any way, are skills that teachers hope every child has before they come to kindergarten. If only.
In ballet and dance classes progress depends on quick understanding by the students, as the physical doing and repetition of a correct movement is what creates good technique. And good technique is the basic ability, then talent, style and other aspects of presentation follow.
So what is a professional attitude that would help ballet and dance students who do not even have professional aspirations? Should they care?
Many inherent factors in the performing arts trainings can bring out the bad attitude in many of us, naturally. Some teachers are drawn to teach and correct to the physically gifted and more charismatic students, even if they are not good workers. This can raise the resentment of other students. I understand this. However, the professional attitude of everyone is to just keep working hard. It is also alright to ask your ballet teacher, at least every few weeks, "what should I be focusing on the most right now to improve?" If you have to demand attention, you do, in a polite way.
Of course if this is a real problem in your ballet studio, go somewhere else.
Casting for performance roles is naturally an issue. Everyone hopes that she or he is ready for the lead or solo roles, or realistically knows that they are not. On the management end, it is true that those teachers doing the casting sometimes do consider students whose families support the school, or who have financial influence. Occasionally it is painfully obvious.
However you get cast, fairly or not, rehearse and dance every role like it is the most important role in the ballet. Because it is. It is YOUR role. That doesn't mean you demand any extra attention with superfluous smiling or any other kind of exaggeration. Do not distract yourself with envy (though it is a natural reaction to feel it, keep it under control), grief, or moping. You can cry on the right shoulder away from the studio, but in the studio you act with quiet pride in all that you do.
You come prepared for every class and rehearsal. You do the minimal socializing, and do not join in the complaining committee of the other unhappily cast ballet students. Just go about your business.
If your ballet studio is presenting excerpts from classical choreography rent the ballets, different companies if possible, and see how the professional dancers do the parts you are rehearsing. Different dancers have different interpretations, musicality and style. You can always learn something to adapt in your way to improve your presentation.
A professional attitude is largely about self-containment. Get advice outside of the studio from family or friends, even other teachers. Release your emotional disappointment somewhere safe. But in the studio, just work. Be helpful to others when needed, as long as it doesn't take away from your work.
Get an edge on your competition as well by studying the expert dance manuals that are available. Improve on your own, take care of aches and pains, eat well and sleep well. Everyone respects that, whether they say so or not. Become your own expert and be a pro, whatever you do.
In ballet and dance classes progress depends on quick understanding by the students, as the physical doing and repetition of a correct movement is what creates good technique. And good technique is the basic ability, then talent, style and other aspects of presentation follow.
So what is a professional attitude that would help ballet and dance students who do not even have professional aspirations? Should they care?
Many inherent factors in the performing arts trainings can bring out the bad attitude in many of us, naturally. Some teachers are drawn to teach and correct to the physically gifted and more charismatic students, even if they are not good workers. This can raise the resentment of other students. I understand this. However, the professional attitude of everyone is to just keep working hard. It is also alright to ask your ballet teacher, at least every few weeks, "what should I be focusing on the most right now to improve?" If you have to demand attention, you do, in a polite way.
Of course if this is a real problem in your ballet studio, go somewhere else.
Casting for performance roles is naturally an issue. Everyone hopes that she or he is ready for the lead or solo roles, or realistically knows that they are not. On the management end, it is true that those teachers doing the casting sometimes do consider students whose families support the school, or who have financial influence. Occasionally it is painfully obvious.
However you get cast, fairly or not, rehearse and dance every role like it is the most important role in the ballet. Because it is. It is YOUR role. That doesn't mean you demand any extra attention with superfluous smiling or any other kind of exaggeration. Do not distract yourself with envy (though it is a natural reaction to feel it, keep it under control), grief, or moping. You can cry on the right shoulder away from the studio, but in the studio you act with quiet pride in all that you do.
You come prepared for every class and rehearsal. You do the minimal socializing, and do not join in the complaining committee of the other unhappily cast ballet students. Just go about your business.
If your ballet studio is presenting excerpts from classical choreography rent the ballets, different companies if possible, and see how the professional dancers do the parts you are rehearsing. Different dancers have different interpretations, musicality and style. You can always learn something to adapt in your way to improve your presentation.
A professional attitude is largely about self-containment. Get advice outside of the studio from family or friends, even other teachers. Release your emotional disappointment somewhere safe. But in the studio, just work. Be helpful to others when needed, as long as it doesn't take away from your work.
Get an edge on your competition as well by studying the expert dance manuals that are available. Improve on your own, take care of aches and pains, eat well and sleep well. Everyone respects that, whether they say so or not. Become your own expert and be a pro, whatever you do.
Thursday, September 25, 2008
How to Learn a Ballet Style Workout at Home
A concern many dance teachers share is the learn-ballet-online concept. Learning ballet from scratch without a teacher is simply not a realistic goal. In fact, the chance of avoiding a dance injury is almost nil. If you cannot get into a ballet class, there are many styles of full body workouts that fulfill the healthy requirements for building muscle, flexibility, and rejuvenating yourself.
I've looked at many ballet workouts that you can rent or buy on DVD. They are suitable for retired professionals or advanced students who know what they are doing. Although some come with ballet instruction for the basics like plies and tendus, it is a basically look and copy format. I do not see how anyone can get any good out of this.
Most people want to feel the elegance and grace of movement and that is why they choose ballet. Yet there is no such experience to be had struggling along with a routine that you don't understand.
The basic Pilates DVDs could be learned if a viewer studies every detail carefully. Pilates is wonderful for the elongating movements of the limbs, and careful strengthening of the core muscles. However, I still recommend classes to get you started, and more classes when you feel you can do a more advanced routine. When is that? Not when you get a little mentally bored with your routine, but when your body can do it easily and you need more challenge to your muscles.
At that point, it is best to go to a basic class, and tell the teacher you feel you are ready to do more, but that you want to make sure you are doing everything right before you move on.
The Classical Stretch DVDs are excellent for getting a good explanation of the exercises, and also getting the basic version suggested that you can do if you are not ready to do what you are looking at. The routines are developed with a balletic style and are also elongating. They combine ballet and Pilates and also draw from Tai Chi a little.
There is even a Classical Stretch DVD to help you improve your golf swing!
The how-to-learn-at-home scenario is a very individual thing. Depending on your background with exercise and ballet training, you can certainly find something. (if you have health issues or previous injuries, check with your health practitioner). Look at the reviews on the products you like, and start carefully. That will do the best for your muscles and help you avoid injuries.
You can look at many workout DVDs here with descriptions and reviews.
I've looked at many ballet workouts that you can rent or buy on DVD. They are suitable for retired professionals or advanced students who know what they are doing. Although some come with ballet instruction for the basics like plies and tendus, it is a basically look and copy format. I do not see how anyone can get any good out of this.
Most people want to feel the elegance and grace of movement and that is why they choose ballet. Yet there is no such experience to be had struggling along with a routine that you don't understand.
The basic Pilates DVDs could be learned if a viewer studies every detail carefully. Pilates is wonderful for the elongating movements of the limbs, and careful strengthening of the core muscles. However, I still recommend classes to get you started, and more classes when you feel you can do a more advanced routine. When is that? Not when you get a little mentally bored with your routine, but when your body can do it easily and you need more challenge to your muscles.
At that point, it is best to go to a basic class, and tell the teacher you feel you are ready to do more, but that you want to make sure you are doing everything right before you move on.
The Classical Stretch DVDs are excellent for getting a good explanation of the exercises, and also getting the basic version suggested that you can do if you are not ready to do what you are looking at. The routines are developed with a balletic style and are also elongating. They combine ballet and Pilates and also draw from Tai Chi a little.
There is even a Classical Stretch DVD to help you improve your golf swing!
The how-to-learn-at-home scenario is a very individual thing. Depending on your background with exercise and ballet training, you can certainly find something. (if you have health issues or previous injuries, check with your health practitioner). Look at the reviews on the products you like, and start carefully. That will do the best for your muscles and help you avoid injuries.
You can look at many workout DVDs here with descriptions and reviews.
Tuesday, April 8, 2008
Dance Injuries Can Be Prevented By Pre-pointe Exercises
Common dance injuries such as sprained ankles, inflamed Achilles tendons, and shin splints can be prevented.
To build strength in the foot muscles, a deliberate and separate routine of practice can be included in your daily routines. Strong foot muscles prevent muscle exhaustion in the calves, and in the feet.
Not all ballet teachers emphasize the use of the floor in the zillion battement tendus and battement degages that you in the first few years of training. In fact, every brushing movement you do for a grand battement, a glissade or a jete or assemble, should work the sole of the foot muscles.
Even if you are taught to use the floor properly, foot exercises added to your daily routines ensure that you build the strength needed to begin pointe work.
The common ballet injuries mentioned above can be prevented. In practicing foot exercises, reflexes are built along with muscle. Your body's proprioception is enhanced. Proprioception is a vast subject.
Suffice it to say that your brain has a communication system with the muscles, joints, and inner ear, (part of your balance system ) that is automated. It allows instant perception and adjustments to muscle behaviour so that you can function in the world without deliberately monitoring every tiny move you make.
Since we are so brilliantly engineered, let's do all we can do to take full advantage of it.
For example, Achilles tendon injuries are a symptom of deficient muscle activity, or overtraining/muscle exhaustion in the feet and perhaps lower leg muscles too. Or full body exhaustion.
The Achilles tendon will become inflamed in response to the strain and resulting lack of support in nearby muscles. The use of the foot, ankle and calves must be reviewed in order to recover, and prevent future misuse.
Take full advantage of the information from current manuals that discuss anatomy, foot types, foot exercises, and all the requirements for advancing to dancing in pointe shoes (and also lead to excellent footwork for male ballet virtuosity).
Muscle exhaustion and injuries can be prevented.
THE PERFECT POINTE BOOK gives you a wealth of information on how to prevent dance injuries. Get yours today.
To build strength in the foot muscles, a deliberate and separate routine of practice can be included in your daily routines. Strong foot muscles prevent muscle exhaustion in the calves, and in the feet.
Not all ballet teachers emphasize the use of the floor in the zillion battement tendus and battement degages that you in the first few years of training. In fact, every brushing movement you do for a grand battement, a glissade or a jete or assemble, should work the sole of the foot muscles.
Even if you are taught to use the floor properly, foot exercises added to your daily routines ensure that you build the strength needed to begin pointe work.
The common ballet injuries mentioned above can be prevented. In practicing foot exercises, reflexes are built along with muscle. Your body's proprioception is enhanced. Proprioception is a vast subject.
Suffice it to say that your brain has a communication system with the muscles, joints, and inner ear, (part of your balance system ) that is automated. It allows instant perception and adjustments to muscle behaviour so that you can function in the world without deliberately monitoring every tiny move you make.
Since we are so brilliantly engineered, let's do all we can do to take full advantage of it.
For example, Achilles tendon injuries are a symptom of deficient muscle activity, or overtraining/muscle exhaustion in the feet and perhaps lower leg muscles too. Or full body exhaustion.
The Achilles tendon will become inflamed in response to the strain and resulting lack of support in nearby muscles. The use of the foot, ankle and calves must be reviewed in order to recover, and prevent future misuse.
Take full advantage of the information from current manuals that discuss anatomy, foot types, foot exercises, and all the requirements for advancing to dancing in pointe shoes (and also lead to excellent footwork for male ballet virtuosity).
Muscle exhaustion and injuries can be prevented.
THE PERFECT POINTE BOOK gives you a wealth of information on how to prevent dance injuries. Get yours today.
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