I recently heard from a mom who was concerned about her 12 year old daughter's dance training.
It seems like her daughter was ahead of her age group in a former ballet school. For some reason, her daughter had to change ballet schools.
Now her daughter is in a school that puts students in age appropriate classes, which is a surprise for this young dancer. Or nasty shock. She was expecting to start dancing in pointe shoes.
I had to encourage this loving mom to flip to the positive here; her daughter is 12, and she has plenty of time to progress in her new school. The time during which she feels "held back" is a time during which she can perfect her ballet technique, and then be even more prepared than she would have been, to dance in pointe shoes.
This is not an uncommon scenario. Perhaps if her daughter can somehow see that she actually has an advantage here, and is not being cheated in some way, then she can just continue to enjoy her dancing and excel in it.
Sometimes the "grade" or the "level" has to be relegated to the background, and the urge to dance and the love of it has to come forward. I hope this doesn't sound abstract or purely philosophical - but her daughter - or maybe YOUR daughter has TIME on her side. If she were 17, then my thoughts on this would be different.
Showing posts with label dance in pointe shoes. Show all posts
Showing posts with label dance in pointe shoes. Show all posts
Saturday, February 5, 2011
Saturday, April 12, 2008
Hyper-extended Knees - Understand Them Before You Dance In Pointe Shoes
Hyper-extended knees - I will help you learn how to build strength and how to hold the legs correctly. Understanding neutral spine, neutral leg, and understanding the support system of your core muscles is vital. Every ballet exercise requires a neutral standing leg. Dancing in pointe shoes, especially, requires a strong neutral leg and perfect alignment.
Explaining a neutral leg, in the first few classes, is as important as explaining a neutral spine, whatever words the teacher uses. (Unless there are no hyper-extended legs in the class, this is necessary).
A neutral leg is: knee above the ankle bone, pelvis above the knees. A line drawn down through a photo of you standing, taken from the side, should reveal a postural plumb line, from the center of the skull, neck, spine (through your natural curves), pelvis, through the knees and ankles, or just in front of the ankles, depending where you rested your weight.
With over-straight legs, the knees stretch back behind this line. While this curving out at the back of the knees is an admired line in a dancer's gesture leg, it causes many problems in a standing leg.
First you tackle the feeling of the legs being bent, when held in a straight position. However, in this straight position it is much easier to hold the turnout and have the pelvis in a neutral position where you can build strength in your center.
When the knees rest back in hyper-extension, the thighs turn in, and often the pelvis tucks under. Now you have compromised the safety of your low back. (In this position you may develop bulky thighs and bulky hip muscles). From here you destabilize your balance. You can compensate for this distortion in many ways in soft shoes, to a degree.
When you get into pointe shoes, all kinds of problems will show up, if they haven't already.
If you are a few years into training, it's extra work, it's reprogramming neural pathways. But most dancers do this all the time as they progress through their training and careers.
There is also a lot of talk about overdeveloping the quads or inside knee muscles, or some other deformity, because of holding the leg straight. Not so. If your pelvis is neutral, you can use your muscles properly. You don't need to grip or clench.
You want your thighs pulled up long. You want a feeling of pushing down through the center of your leg bones into the floor. And imagine a space between your hip bones and the top of your thighs. You will achieve a real lengthening by doing this, your deep lower abs will pull up and in nicely, and now your core muscles are supporting the length you want.
You will be able to hold your turnout and have a strong supporting leg. When you get into pointe shoes, you will have your body aligned well, over that tiny point on the floor.
Always remember in your ballet stretching, to relax and lengthen all your muscles. Use a soft rubber ball to knead the muscles, leaning on a wall, or use it with the floor. Deborah Vogel demonstrates this on her DVD as to how to get more flexible and release tension.
Get a guide with expert ballet tips for working with hyper-extended knees.
Explaining a neutral leg, in the first few classes, is as important as explaining a neutral spine, whatever words the teacher uses. (Unless there are no hyper-extended legs in the class, this is necessary).
A neutral leg is: knee above the ankle bone, pelvis above the knees. A line drawn down through a photo of you standing, taken from the side, should reveal a postural plumb line, from the center of the skull, neck, spine (through your natural curves), pelvis, through the knees and ankles, or just in front of the ankles, depending where you rested your weight.
With over-straight legs, the knees stretch back behind this line. While this curving out at the back of the knees is an admired line in a dancer's gesture leg, it causes many problems in a standing leg.
First you tackle the feeling of the legs being bent, when held in a straight position. However, in this straight position it is much easier to hold the turnout and have the pelvis in a neutral position where you can build strength in your center.
When the knees rest back in hyper-extension, the thighs turn in, and often the pelvis tucks under. Now you have compromised the safety of your low back. (In this position you may develop bulky thighs and bulky hip muscles). From here you destabilize your balance. You can compensate for this distortion in many ways in soft shoes, to a degree.
When you get into pointe shoes, all kinds of problems will show up, if they haven't already.
If you are a few years into training, it's extra work, it's reprogramming neural pathways. But most dancers do this all the time as they progress through their training and careers.
There is also a lot of talk about overdeveloping the quads or inside knee muscles, or some other deformity, because of holding the leg straight. Not so. If your pelvis is neutral, you can use your muscles properly. You don't need to grip or clench.
You want your thighs pulled up long. You want a feeling of pushing down through the center of your leg bones into the floor. And imagine a space between your hip bones and the top of your thighs. You will achieve a real lengthening by doing this, your deep lower abs will pull up and in nicely, and now your core muscles are supporting the length you want.
You will be able to hold your turnout and have a strong supporting leg. When you get into pointe shoes, you will have your body aligned well, over that tiny point on the floor.
Always remember in your ballet stretching, to relax and lengthen all your muscles. Use a soft rubber ball to knead the muscles, leaning on a wall, or use it with the floor. Deborah Vogel demonstrates this on her DVD as to how to get more flexible and release tension.
Get a guide with expert ballet tips for working with hyper-extended knees.
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