Today Deborah Vogel wrote:
"Another Dancing Smart newsletter has been posted.
This one is on improving focus and I have included
an excerpt from Train Your Brain: A Teen's Guide
to Well Being."
Go to Deborah's site The Body Series and click on the blog button in the top menu.
You can learn ways to train yourself to focus away from negative emotions, tension and anxiety. Positive emotions will enhance all your work in ballet and dance training. Positive emotions strengthen your immune system.
Learn how to enjoy - relish! - ballet class, school, and all the inherent challenges life brings. When you know how, you can change your life direction. You do not have to wait until you are "grown up".
Showing posts with label how to. Show all posts
Showing posts with label how to. Show all posts
Sunday, January 31, 2010
Wednesday, February 4, 2009
How to Prepare For Pointe Shoes and Prevent Dance Injuries
Prepare, prepare, prepare, for dancing ballet in pointe shoes.
Learn how to prevent dance injuries like a sprained ankle or a ballet knee injury years before you, or your child is looking for exactly the right fit in pointe shoes.
Even recreational dancers who may leave ballet classes for hip hop, jazz, salsa, cheer leading or any other style of dance, benefit from learning how to do basic classical ballet technique correctly.
The basic ballet movements and ballet positions can be executed correctly by almost any dance student. Students who do not have the physical attributes of turnout, flexibility, long legs/short body, long arms and long necks, can still learn to do ballet correctly enough to advance.
In some ballet schools, teachers actually believe that a student will never be able to do certain ballet movements because they lack "X" physical attribute. Unfortunately some students absorb this negativity whether the teacher voices it or not. It's a shame.
If you feel like you are not progressing and you do not get the coaching you need in ballet class, read, read, read. There is detailed information available about ballet technique and also there is plenty of help in the area of anatomy and anatomical correctness in ballet movement.
The all too common sprained ankles and knee injuries of ballet/sports/fitness can be avoided, for you.
The trick is how to get YOUR body to do THAT. If you are a few degrees too many from the ballet ideal, your teacher may not be able or may not be willing to help you. However, you can learn what you need to do to develop the correct application of for instance, a demi plie, onto a correctly postured releve with a correctly stretched arch and ankle.
If you aspire to become a performer in another dance style such as jazz or hip hop, your longevity in dance will depend on the correct use of your body.
If you aspire to dance ballet in pointe shoes, you need to be sure that your time and effort and the thousands of plies, degages and battement tendus are not being practiced with errors that will lead to injury.
Your basic dance movements imitate the advanced and sometimes intricate classical choreography. Modern ballet and modern dance choreography often cannot be imitated by basic ballet movements, but you are more prepared for that if you know how to move and prevent injury.
Take advantage of the wealth of information available at this blog, in books (print and downloads) and on DVDs. You can learn what you need to know to prepare to dance in pointe shoes and prevent ballet injuries.
Learn how to prevent dance injuries like a sprained ankle or a ballet knee injury years before you, or your child is looking for exactly the right fit in pointe shoes.
Even recreational dancers who may leave ballet classes for hip hop, jazz, salsa, cheer leading or any other style of dance, benefit from learning how to do basic classical ballet technique correctly.
The basic ballet movements and ballet positions can be executed correctly by almost any dance student. Students who do not have the physical attributes of turnout, flexibility, long legs/short body, long arms and long necks, can still learn to do ballet correctly enough to advance.
In some ballet schools, teachers actually believe that a student will never be able to do certain ballet movements because they lack "X" physical attribute. Unfortunately some students absorb this negativity whether the teacher voices it or not. It's a shame.
If you feel like you are not progressing and you do not get the coaching you need in ballet class, read, read, read. There is detailed information available about ballet technique and also there is plenty of help in the area of anatomy and anatomical correctness in ballet movement.
The all too common sprained ankles and knee injuries of ballet/sports/fitness can be avoided, for you.
The trick is how to get YOUR body to do THAT. If you are a few degrees too many from the ballet ideal, your teacher may not be able or may not be willing to help you. However, you can learn what you need to do to develop the correct application of for instance, a demi plie, onto a correctly postured releve with a correctly stretched arch and ankle.
If you aspire to become a performer in another dance style such as jazz or hip hop, your longevity in dance will depend on the correct use of your body.
If you aspire to dance ballet in pointe shoes, you need to be sure that your time and effort and the thousands of plies, degages and battement tendus are not being practiced with errors that will lead to injury.
Your basic dance movements imitate the advanced and sometimes intricate classical choreography. Modern ballet and modern dance choreography often cannot be imitated by basic ballet movements, but you are more prepared for that if you know how to move and prevent injury.
Take advantage of the wealth of information available at this blog, in books (print and downloads) and on DVDs. You can learn what you need to know to prepare to dance in pointe shoes and prevent ballet injuries.
Tuesday, August 26, 2008
Ballet Stores and the Pointe Shoe Brands
I am so happy to hear from the many would-be ballerinas of the world. Many of the concerns I get asked about have to do with pointe shoes. The local ballet store may not carry many brands, and ballet students may have trouble finding exactly the right fit.
If you asked a world class ballerina if she got exactly the right fit from shoes made just for her, you might be surprised to find that even they do some work on their pointe shoes.
Seeing that many stores have no shoe fitter, or one with the same problem as you have - limited stock - it is a good idea to step on a piece of paper and draw your foot outline. Both feet - since most people have a different shape or size from the right foot to the left. This gives you and the fitter an idea to start choosing shoes from.
Of course other factors then come into the picture. High instep or low, will determine how deep a shoe you need. Long toes, short toes, uneven toes, will determine the length, width and shape of the box part of the shoe - the part that will encase your toes.
Flexibility of the ankle joint along with the general mobility of the arch and foot bones will determine how hard a shank you need. Since shanks can be softened, it is better to try a harder one, if you are in doubt.
The fitter or helper will show you how to point your foot in the pointe shoe, with the platform on the floor, without putting weight on the shoe. You can do this sitting or standing. It's always good to try on the pair - remember that feet are not mirrors of each other.
Try whatever toe padding that the store will allow. It's idealistic, but unrealistic to plan on taking pointe class without any padding at all. Ouchpads, Lamb's Wool, toe spacers or levelers if you have a long second toe or long big toe, are not just luxuries. They will protect all your foot bones by distributing your weight among the toes in the best way possible.
Pointe shoes are not meant to fit quite like a glove. Snugly, yes, but you must be able to do a demi plie in fifth and second position without excruciating pressure on the ends of your toes. On pointe, the toes should not be loose in the box (too long or too wide) either, or your feet will not be supported.
Even though this sounds like getting exactly the right fit is a tricky risk, it is not. If you have few brands to choose from, you can find a workable fit. Breaking the shoes in properly and good foot care matters too.
More importantly, be sure you are ready to start ballet classes in pointe shoes.
Pre-pointe exercises should be done for a few months. If your teacher, parents or your health practitioner have any doubts about you being prepared for pointe work, it is better to wait. Sufficient strength is paramount.
Students who are no longer growing have the extra advantage of ordering on line and trying different brands.
Ballet stores that supply small local schools will not carry every brand available. Understanding how to accommodate having a smaller choice with patience, and knowing how to fit the shoes will get you what you need.
If you asked a world class ballerina if she got exactly the right fit from shoes made just for her, you might be surprised to find that even they do some work on their pointe shoes.
Seeing that many stores have no shoe fitter, or one with the same problem as you have - limited stock - it is a good idea to step on a piece of paper and draw your foot outline. Both feet - since most people have a different shape or size from the right foot to the left. This gives you and the fitter an idea to start choosing shoes from.
Of course other factors then come into the picture. High instep or low, will determine how deep a shoe you need. Long toes, short toes, uneven toes, will determine the length, width and shape of the box part of the shoe - the part that will encase your toes.
Flexibility of the ankle joint along with the general mobility of the arch and foot bones will determine how hard a shank you need. Since shanks can be softened, it is better to try a harder one, if you are in doubt.
The fitter or helper will show you how to point your foot in the pointe shoe, with the platform on the floor, without putting weight on the shoe. You can do this sitting or standing. It's always good to try on the pair - remember that feet are not mirrors of each other.
Try whatever toe padding that the store will allow. It's idealistic, but unrealistic to plan on taking pointe class without any padding at all. Ouchpads, Lamb's Wool, toe spacers or levelers if you have a long second toe or long big toe, are not just luxuries. They will protect all your foot bones by distributing your weight among the toes in the best way possible.
Pointe shoes are not meant to fit quite like a glove. Snugly, yes, but you must be able to do a demi plie in fifth and second position without excruciating pressure on the ends of your toes. On pointe, the toes should not be loose in the box (too long or too wide) either, or your feet will not be supported.
Even though this sounds like getting exactly the right fit is a tricky risk, it is not. If you have few brands to choose from, you can find a workable fit. Breaking the shoes in properly and good foot care matters too.
More importantly, be sure you are ready to start ballet classes in pointe shoes.
Pre-pointe exercises should be done for a few months. If your teacher, parents or your health practitioner have any doubts about you being prepared for pointe work, it is better to wait. Sufficient strength is paramount.
Students who are no longer growing have the extra advantage of ordering on line and trying different brands.
Ballet stores that supply small local schools will not carry every brand available. Understanding how to accommodate having a smaller choice with patience, and knowing how to fit the shoes will get you what you need.
Thursday, August 14, 2008
How Can I Improve the Basics of My Ballet Training Without A Professional Ballet School?
How to improve the basics of ballet training can be done with the help of professional technique manuals. A student cannot train in pointe shoes without an experienced teacher. However, there are currently several good sources of basic ballet technique in text, photo and DVD form. The finer details of posture, turnout and placement can be understood and learned. Stretching safely can produce great improvement, whether or not you end up doing the splits.
Internet dance forums and chats can create a wonderful community for students, especially those in smaller towns with fewer dance studios to choose from.
One drawback, however, is the transfer of incorrect technical information that may lead to zero progress, or even injury.
For example, the basics of posture depend on enough flexibility for a dancer to stand with a neutral spine (normal curves and good abdominal support). This requires thigh muscles at the front of the leg, or hip flexors, and thigh muscles at the back of the leg, the hamstrings, that are long and flexible enough to allow the pelvis to retain a natural position. This is simply, neither tilted forward nor back in response to a short or tense muscle of the leg.
While flexibility allowing a ballet dancer to do the splits may seem like the ideal, a strong technique is required to hold the traditional ballet positions and leg extensions in a stable position. Without a strong core and uncluttered ballet exercises to build more strength, both adagio and grand allegro will be clumsy or result in injury.
A clean and accurate ballet technique benefits greatly from a student learning the basics of anatomy in regards to turnout, foot structure, the spine, and large muscle groups. The all too common knee injuries and sprained ankles can be prevented with understanding what is at stake when a dancer forces turnout, for example, or goes onto pointe too soon.
Dance students who are not ideally flexible, long and lean, or highly arched in their foot structure can still be strong. Holding the turnout you have means you can move and jump safely. Having strong extension positions and a strong core can mean you will do a fabulous series of turns in second, arabesque or attitude. Strength is more important than height of leg, for these showy spins.
Understanding the finer details of the basics of classical ballet technique will allow you to build strength faster, without developing over worked muscles that gradually become too tense to maintain good muscle tone. Learning to train your brain to improve your ability to envision your dance moves, and stay in a positive frame of mind will give you an edge. Yet, you must know what is accurate in order to envision it for the best results.
Learning the tips and tricks of safe stretching, and proper muscle care and relaxation will result in a steady progress and optimum results.
Study, in particular, the pre-pointe routines, including proper self-assessment, and well-paced home practice. Whether you are a would-be ballerina or are among the men in ballet, pre-pointe regimens benefit balance, foot strength, and lead to virtuoso professional footwork. Men and boys in pointe shoes is not a freak phenomenon, it's wise study, and more and more dance teachers allow the males to join basic barre work on pointe.
Pointe work should always be supervised. Problems with pointe work usually need to be corrected off pointe first. General technical weaknesses can be improved throughout class work, and then work on pointe will be accurate and can be done without a struggle.
If you would like to improve your ballet dancing beyond your local training, all the information you need is readily available. Give yourself some quiet time to study and learn some self-assessment tests to isolate your weaker areas. The basics of ballet training are well explained and are in your reach, even if you are far away from a professional ballet school.
Internet dance forums and chats can create a wonderful community for students, especially those in smaller towns with fewer dance studios to choose from.
One drawback, however, is the transfer of incorrect technical information that may lead to zero progress, or even injury.
For example, the basics of posture depend on enough flexibility for a dancer to stand with a neutral spine (normal curves and good abdominal support). This requires thigh muscles at the front of the leg, or hip flexors, and thigh muscles at the back of the leg, the hamstrings, that are long and flexible enough to allow the pelvis to retain a natural position. This is simply, neither tilted forward nor back in response to a short or tense muscle of the leg.
While flexibility allowing a ballet dancer to do the splits may seem like the ideal, a strong technique is required to hold the traditional ballet positions and leg extensions in a stable position. Without a strong core and uncluttered ballet exercises to build more strength, both adagio and grand allegro will be clumsy or result in injury.
A clean and accurate ballet technique benefits greatly from a student learning the basics of anatomy in regards to turnout, foot structure, the spine, and large muscle groups. The all too common knee injuries and sprained ankles can be prevented with understanding what is at stake when a dancer forces turnout, for example, or goes onto pointe too soon.
Dance students who are not ideally flexible, long and lean, or highly arched in their foot structure can still be strong. Holding the turnout you have means you can move and jump safely. Having strong extension positions and a strong core can mean you will do a fabulous series of turns in second, arabesque or attitude. Strength is more important than height of leg, for these showy spins.
Understanding the finer details of the basics of classical ballet technique will allow you to build strength faster, without developing over worked muscles that gradually become too tense to maintain good muscle tone. Learning to train your brain to improve your ability to envision your dance moves, and stay in a positive frame of mind will give you an edge. Yet, you must know what is accurate in order to envision it for the best results.
Learning the tips and tricks of safe stretching, and proper muscle care and relaxation will result in a steady progress and optimum results.
Study, in particular, the pre-pointe routines, including proper self-assessment, and well-paced home practice. Whether you are a would-be ballerina or are among the men in ballet, pre-pointe regimens benefit balance, foot strength, and lead to virtuoso professional footwork. Men and boys in pointe shoes is not a freak phenomenon, it's wise study, and more and more dance teachers allow the males to join basic barre work on pointe.
Pointe work should always be supervised. Problems with pointe work usually need to be corrected off pointe first. General technical weaknesses can be improved throughout class work, and then work on pointe will be accurate and can be done without a struggle.
If you would like to improve your ballet dancing beyond your local training, all the information you need is readily available. Give yourself some quiet time to study and learn some self-assessment tests to isolate your weaker areas. The basics of ballet training are well explained and are in your reach, even if you are far away from a professional ballet school.
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