Here's an excellent power training/weights/kettlebell video taken at The National Ballet of Canada, with trainer Josh Hewitt.
Josh introduces an overview of the basics of training for power. He recommends this type of training as useful for men in ballet and shows how it helps explosive movements and partner work.
His demo includes:
-dynamic warmup
-importance of training for power
-exercise progressions for power movements
-triple extension
-kettlebell training
-other power movements such as plyo pushups and jump squats
These training exercises are meant for advanced/professional dancers and they should not be practiced without instruction and supervision.
Monday, September 28, 2009
Saturday, September 26, 2009
Stretching at the Ballet Barre to Improve Basic Positions
Stretching at the barre is necessary even when you are first learning ballet. Opportunities to stretch come in between exercises while your ballet teacher describes the next exercise.
Use this to get better ballet basic positions.
Often a teacher will give a stretching exercise at the end of the ballet barre workout, in order to take advantage of the warmed up muscles, and also to give the ballet students a brief rest from the most strenuous moves.
One set of muscles that need stretching and relaxing between each exercise is the rotator, or turnout muscles. After plies for example, turn your legs in and plie. Then lean into each hip, gently stretching all the muscles in the hip area. Do this after every barre exercise.
Stretching and relaxing muscles does not diminish your muscle tone, but does the opposite. Muscles that retain tension are weaker than muscles that are relaxed properly with correct stretching.
After battement tendu, relaxing the calves with a demi plie is advised. Relax the foot muscles briefly by pressing each foot up to demi pointe (while standing on the other) to stretch the sole of the foot muscles out.
Some ballet teachers give a stretch exercise at the barre before grand battement. This may be something like placing one leg on the barre, to your devant or front position, and stretching over it. A stretch should be held still for 15-30 seconds at least.
No bouncing or pulsing is needed - and movement does not help with the stretch. Turning out the supporting leg and pivoting the body turns you into a la seconde, leg to the side.
There are two common ways you can stretch in a la seconde. One, simply hold a well aligned position (spinal posture correct, working hip level with the supporting hip if possible), and stretch sideways over the leg, holding it 15-30 seconds, or musical equivalent.
For more flexible students, slide down the bar, staying close to it, and maintain the widened second position, holding turnout well, 15-30 seconds.
And this is how you can do your stretching at the ballet barre to improve your basic positions. Get yourself a copy of Strength And Stretch In Motion DVD`
Watch this preview video:
D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.
Follow us on Pinterest!
Use this to get better ballet basic positions.
Often a teacher will give a stretching exercise at the end of the ballet barre workout, in order to take advantage of the warmed up muscles, and also to give the ballet students a brief rest from the most strenuous moves.
One set of muscles that need stretching and relaxing between each exercise is the rotator, or turnout muscles. After plies for example, turn your legs in and plie. Then lean into each hip, gently stretching all the muscles in the hip area. Do this after every barre exercise.
Stretching and relaxing muscles does not diminish your muscle tone, but does the opposite. Muscles that retain tension are weaker than muscles that are relaxed properly with correct stretching.
After battement tendu, relaxing the calves with a demi plie is advised. Relax the foot muscles briefly by pressing each foot up to demi pointe (while standing on the other) to stretch the sole of the foot muscles out.
Some ballet teachers give a stretch exercise at the barre before grand battement. This may be something like placing one leg on the barre, to your devant or front position, and stretching over it. A stretch should be held still for 15-30 seconds at least.
No bouncing or pulsing is needed - and movement does not help with the stretch. Turning out the supporting leg and pivoting the body turns you into a la seconde, leg to the side.
There are two common ways you can stretch in a la seconde. One, simply hold a well aligned position (spinal posture correct, working hip level with the supporting hip if possible), and stretch sideways over the leg, holding it 15-30 seconds, or musical equivalent.
For more flexible students, slide down the bar, staying close to it, and maintain the widened second position, holding turnout well, 15-30 seconds.
And this is how you can do your stretching at the ballet barre to improve your basic positions. Get yourself a copy of Strength And Stretch In Motion DVD`
Watch this preview video:
D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.
Follow us on Pinterest!
Tuesday, September 22, 2009
Fitting Ballet Pointe Shoes - Some Extra Tips
It is exciting when your dance teacher tells you that it's time to start dancing ballet in pointe shoes. New, shiny, pink satin pointe shoes are beautiful. Every student has to have an idea of what they should look for in getting exactly the right fit. Hopefully the ballet store will have an area of floor for fitting ballet pointe shoes, and a ballet barre (bar) or chair back to use for support.
Here are a few points for every dance student to review. Do you have
*** narrow feet/wide feet
*** narrow heels/wide across metatarsal are
*** long toes/short toes
*** even length toes/varying lengths of toes (especially longer second toe)
*** flat arch and less deep toes/high domed arch and deeper toes/ankle bone higher above floor
All these elements determine the kind of pointe shoe you will work best in.
Pointe shoes must be snug enough to support the foot, yet not too tight. Cramped toe joints will not be able to work properly. Pain at the end of the toes from compression does not serve the dance student who needs to concentrate on accurate technique in order to build strength and avoid ballet injuries.
The boxes, or supportive area of pointe shoes around the toes, come in different widths and shapes. Therefore the platform, or part you actually stand up on, may be narrower or wider.
The vamp, or cloth extending from the box up over the metatarsal joints, also is made in different lengths to accommodate different foot shapes.
You will try on each shoe standing flat, in demi plie in second position (you need a little room for your feet to spread), and on pointe, using a barre or chair back for support (or a person). Of course, you do not want to break a pair of shoes when fitting.
Once you select a pair of shoes, take them to your teacher to review the fit. Keep them absolutely clean by standing on clean white paper or a towel, in case you end up returning them. Do not sew on ribbons and/or elastic before having your teacher see the fit.
You can get many more details about ballet pointe shoes and exercises to prepare for toe shoes, before you start pointe work.
Fitting ballet pointe shoes takes time, so don't be rushed at the ballet store.
Here are a few points for every dance student to review. Do you have
*** narrow feet/wide feet
*** narrow heels/wide across metatarsal are
*** long toes/short toes
*** even length toes/varying lengths of toes (especially longer second toe)
*** flat arch and less deep toes/high domed arch and deeper toes/ankle bone higher above floor
All these elements determine the kind of pointe shoe you will work best in.
Pointe shoes must be snug enough to support the foot, yet not too tight. Cramped toe joints will not be able to work properly. Pain at the end of the toes from compression does not serve the dance student who needs to concentrate on accurate technique in order to build strength and avoid ballet injuries.
The boxes, or supportive area of pointe shoes around the toes, come in different widths and shapes. Therefore the platform, or part you actually stand up on, may be narrower or wider.
The vamp, or cloth extending from the box up over the metatarsal joints, also is made in different lengths to accommodate different foot shapes.
You will try on each shoe standing flat, in demi plie in second position (you need a little room for your feet to spread), and on pointe, using a barre or chair back for support (or a person). Of course, you do not want to break a pair of shoes when fitting.
Once you select a pair of shoes, take them to your teacher to review the fit. Keep them absolutely clean by standing on clean white paper or a towel, in case you end up returning them. Do not sew on ribbons and/or elastic before having your teacher see the fit.
You can get many more details about ballet pointe shoes and exercises to prepare for toe shoes, before you start pointe work.
Fitting ballet pointe shoes takes time, so don't be rushed at the ballet store.
Thursday, September 10, 2009
Ballet For Adults and Barre Exercises
Basic ballet positions, technique and movements are taught through barre exercises. (For a complete description, with photos of a ballet barre workout, get THE BALLET BIBLE).To discover and increase your turnout, and improve your natural dancing abilities, you need to understand the purpose of each barre exercise. Adult ballet beginners can progress faster with an understanding of ballet barre work.
A ballet barre work out is designed to warm you up while working different muscle groups.
For example, the demi (half way down) and full plie exercise warms up everything a little, but more so for the large quadriceps (front thigh muscles), gluteals (butt and hip muscles), as well the supporting abs and back muscles. But, mainly it's thought of as a leg exercise.
As you advance, different arm movements are added, to practice ballet positions of the upper body. It also requires coordination and musicality to do the arm positions and movements.
However, if your class doesn't do a lot of arm positions in plies, don't worry. Your teacher is giving you a chance to concentrate on your legs, posture, and turnout until you get stronger.
Battements tendus and degages are mostly lower leg and foot exercises. This gives your upper leg muscles a rest, although all your muscles will support the technique you are building with the footwork. Maintaining good posture and turnout is crucial here, as in every ballet barre exercise.
A well-planned barre continues with trading off on larger upper leg muscles with lower leg and foot muscles, as you proceed through it. This way you get practice, you get warmed up, but never exhausted.
Technically, a ballet barre exercise may work a set of muscles "to exhaustion", which means you may experience a weakness, or trembling by the end of the exercise. THIS IS GOOD! This point is where your brain tells your body to build on the size of your muscle fibers, meaning, building strength.
And again, a well planned barre will then rest those muscles and work others in the next exercise. This is all carefully planned for you.
In a ballet for adults class, ask questions when you need to. Keep a small notebook so you can write down questions about ballet positions or movements you'd like to look up after class. You'll master your barre exercises and enjoy ballet that much more.
A ballet barre work out is designed to warm you up while working different muscle groups.
For example, the demi (half way down) and full plie exercise warms up everything a little, but more so for the large quadriceps (front thigh muscles), gluteals (butt and hip muscles), as well the supporting abs and back muscles. But, mainly it's thought of as a leg exercise.
As you advance, different arm movements are added, to practice ballet positions of the upper body. It also requires coordination and musicality to do the arm positions and movements.
However, if your class doesn't do a lot of arm positions in plies, don't worry. Your teacher is giving you a chance to concentrate on your legs, posture, and turnout until you get stronger.
Battements tendus and degages are mostly lower leg and foot exercises. This gives your upper leg muscles a rest, although all your muscles will support the technique you are building with the footwork. Maintaining good posture and turnout is crucial here, as in every ballet barre exercise.
A well-planned barre continues with trading off on larger upper leg muscles with lower leg and foot muscles, as you proceed through it. This way you get practice, you get warmed up, but never exhausted.
Technically, a ballet barre exercise may work a set of muscles "to exhaustion", which means you may experience a weakness, or trembling by the end of the exercise. THIS IS GOOD! This point is where your brain tells your body to build on the size of your muscle fibers, meaning, building strength.
And again, a well planned barre will then rest those muscles and work others in the next exercise. This is all carefully planned for you.
In a ballet for adults class, ask questions when you need to. Keep a small notebook so you can write down questions about ballet positions or movements you'd like to look up after class. You'll master your barre exercises and enjoy ballet that much more.
Sunday, September 6, 2009
How To Improve Your Ballet Technique, Avoid Ballet Injuries and Eventual Arthritis
The traditional ballet conservatory training usually combines a syllabus training (Cecchetti, Royal Academy of Dancing, Vaganova) with the talent of world class retired ballerinas and male dancers. This provides ballet technique that trains each dancer to improve their ballet technique according to their unique physique and talent. How can the recreational dancer, adult ballet beginner or cheer leader student tap into this information in order to avoid ballet injuries and eventual arthritis?
The fastest way to improve your ballet technique, no matter what style of dance your ballet conservatory teaches, is to learn what is anatomically correct and what is not.
You can improve your turnout by understanding the type of hip joints you have. You can also learn which muscles actually hold your turnout, and which muscles support your correct ballet technique and traditional ballet positions. Cheerleaders and even football pros use turnout in their movements and learning it correctly can prevent sprained and torn knee joints.
Analysing Arabesque for example, requires that you understand moving from an upright position of the spine, to a tilted, correctly twisted position of the lumbar (low back) spine. Even if you have 180 degree turnout from your hips, a high arabesque will demand the twist of the low back/pelvis to achieve a professional line. Different dance styles will determine the details of your line, as in some arm placement (square shoulders or not, etc.,) and yet correct ballet technique will allow the dancer to adapt to many choreographic styles.
Also, understanding a proper arabesque ballet position helps you stretch properly to do the splits.
Understanding foot types, foot muscles, and how to strengthen AND relax lower leg and foot muscles will help prepare you for dancing ballet in pointe shoes, regardless of your dance training style. Cheerleaders included - you may not aspire to dance in pointe shoes, but foot/lower leg control will improve your balance and help you avoid the most common ballet/sports/fitness injury - sprained ankles.
It's amazing that x-rays dancers in their twenties can show arthritis in foot joints, knee joints and joints of the low back, neck and shoulders. Certain ballet training styles sprain and strain joints to perpetuate the tradition. Ballet conservatories understand this, and their audition processes attempt to screen out the physiques that will sustain too much damage to finish the training. The better funded academies have added anatomy classes and physical therapists to their programs to diminish this accepted professional hazard.
Now any ballet student or cheer leading student can get the same information! No matter how out of the way your ballet school is! If you have no money to spend, there are many free articles to read on the internet, and many ballet books in your local library.
It's open access to anyone who will search and benefit from the wealth of information on how to improve your ballet technique.
Learn how to IMPROVE YOUR BALLET TECHNIQUE,with products from The Body Series. These educational books and DVDs cover anatomy, ballet turnout, analysing arabesque, muscle tension release and much more!
The fastest way to improve your ballet technique, no matter what style of dance your ballet conservatory teaches, is to learn what is anatomically correct and what is not.
You can improve your turnout by understanding the type of hip joints you have. You can also learn which muscles actually hold your turnout, and which muscles support your correct ballet technique and traditional ballet positions. Cheerleaders and even football pros use turnout in their movements and learning it correctly can prevent sprained and torn knee joints.
Analysing Arabesque for example, requires that you understand moving from an upright position of the spine, to a tilted, correctly twisted position of the lumbar (low back) spine. Even if you have 180 degree turnout from your hips, a high arabesque will demand the twist of the low back/pelvis to achieve a professional line. Different dance styles will determine the details of your line, as in some arm placement (square shoulders or not, etc.,) and yet correct ballet technique will allow the dancer to adapt to many choreographic styles.
Also, understanding a proper arabesque ballet position helps you stretch properly to do the splits.
Understanding foot types, foot muscles, and how to strengthen AND relax lower leg and foot muscles will help prepare you for dancing ballet in pointe shoes, regardless of your dance training style. Cheerleaders included - you may not aspire to dance in pointe shoes, but foot/lower leg control will improve your balance and help you avoid the most common ballet/sports/fitness injury - sprained ankles.
It's amazing that x-rays dancers in their twenties can show arthritis in foot joints, knee joints and joints of the low back, neck and shoulders. Certain ballet training styles sprain and strain joints to perpetuate the tradition. Ballet conservatories understand this, and their audition processes attempt to screen out the physiques that will sustain too much damage to finish the training. The better funded academies have added anatomy classes and physical therapists to their programs to diminish this accepted professional hazard.
Now any ballet student or cheer leading student can get the same information! No matter how out of the way your ballet school is! If you have no money to spend, there are many free articles to read on the internet, and many ballet books in your local library.
It's open access to anyone who will search and benefit from the wealth of information on how to improve your ballet technique.
Learn how to IMPROVE YOUR BALLET TECHNIQUE,with products from The Body Series. These educational books and DVDs cover anatomy, ballet turnout, analysing arabesque, muscle tension release and much more!
Saturday, August 22, 2009
Use the Ballet Barre to Improve Your Balance and Strengthen Your Ballet Technique
Be in pointe shoes as much as you can. Once you've gone beyond beginning pointe work, wearing the shoes for barre work is a good habit.
The sole of the foot, and ankle, have to work so much more with every tendu, degage, and rise onto demi-pointe. The shoe resists, and the muscles get a better workout.
If the thickness of the sole makes your foot wobble because it does lie flat on the floor, use a wood file, and shave the sole down lightly. You can get the sole close to flush with the satin, so that your foot will be flatter on the floor. Straining the ankles from wobbling is distracting, during ballet barre work.
Even wearing worn out pointe shoes is better than wearing soft shoes. There is still more effort needed, until the shoe is completely mushy.
If you're still pre-pointe, or an adult ballet beginner, here's some tips to help you gain from using the ballet barre properly:
*** understand correct weight placement on your feet (or supporting foot) which is, evenly distributed between the center of the heel, the area at the little toe joint at the outside of the foot, and the area at the big toe joint at the ball of the foot.
*** check frequently during barre work, by lifting your hand off the barre, that your weight has not moved back onto the heel.
*** additionally, at frequent opportunities, see if you can lift the heel of the supporting foot, and place back down, indicating that you are not back on your heel.
These two simple points show you how to use the ballet barre to improve your balance and strengthen your ballet technique.To get into pointe shoes faster, learn more about better ballet technique, and ballet positions.
The sole of the foot, and ankle, have to work so much more with every tendu, degage, and rise onto demi-pointe. The shoe resists, and the muscles get a better workout.
If the thickness of the sole makes your foot wobble because it does lie flat on the floor, use a wood file, and shave the sole down lightly. You can get the sole close to flush with the satin, so that your foot will be flatter on the floor. Straining the ankles from wobbling is distracting, during ballet barre work.
Even wearing worn out pointe shoes is better than wearing soft shoes. There is still more effort needed, until the shoe is completely mushy.
If you're still pre-pointe, or an adult ballet beginner, here's some tips to help you gain from using the ballet barre properly:
*** understand correct weight placement on your feet (or supporting foot) which is, evenly distributed between the center of the heel, the area at the little toe joint at the outside of the foot, and the area at the big toe joint at the ball of the foot.
*** check frequently during barre work, by lifting your hand off the barre, that your weight has not moved back onto the heel.
*** additionally, at frequent opportunities, see if you can lift the heel of the supporting foot, and place back down, indicating that you are not back on your heel.
These two simple points show you how to use the ballet barre to improve your balance and strengthen your ballet technique.To get into pointe shoes faster, learn more about better ballet technique, and ballet positions.
Friday, August 14, 2009
Easy At Home Stretches For Your Ballet Or Cheer Leading Moves - Position To the Side
Doing the splits to the side, or a la seconde, can be improved with patient stretching after a sufficient warm up. Basic ballet positions can be used to highlight cheer leading jumps, and landings, into the splits.
After a ballet class or a cheer leading workout is a great time to stretch - when you're extremely warmed up.
Here are some tips to getting a better looking second - or side splits position.
Usually the audience is presented with this position straight on from the front. So, even if your legs cannot extend out to the extreme (180 degrees turnout) position, if you can raise the legs waist high in a leap, it still looks impressive.
All of the muscles around the pelvis, low back, and in the back of the the thighs (the hamstrings) can be gradually and constantly lengthened. The tendons and ligaments around your joints should not be pressured into tearing. They don't lengthen the way muscles do.
If you cannot stretch at the end of a class or a workout, put on leg warmers or sweat pants to go home in. This will keep you warm.
As soon as you have some time, even if you're doing homework reading or studying, sit down in second position on the floor. Do a stretch in second position, relaxing over to the floor over your book, and just hold the position. Do not bounce or pulse. Deep breathing is okay, and helps you relax. This is the yoga method of NO FORCE. After 30 to 60 seconds, slowly pull up straight and see if you can wiggle your legs out even a hair's width, without pain.
Repeat this stretch about ten times, not pushing into pain, but tolerating discomfort.
You have to get away from your book for the next bit - do a side bend, leaning to one side over your now stretched to the max sideways leg. Keep the other hip and butt bone down, on the floor. Hold 30 to 60 seconds. Repeat 4-5 times and do the other side.
This sideways stretch actually stretches your lower back muscles on each side of your spine. These muscles normally restrict movement so that in daily life you don't over stretch and tear your back. In controlled stretching, it's fine to stretch them out. This will allow you to maintain an upright position when you kick to the side. All from easy at home stretching while you get some studying done.
Now your basic ballet positions and your cheer leading leaps and kicks are going to look great!
Improve your basic ballet positions and cheer leading moves with THE BALLET BIBLE, a complete description of the ballet barre.
After a ballet class or a cheer leading workout is a great time to stretch - when you're extremely warmed up.
Here are some tips to getting a better looking second - or side splits position.
Usually the audience is presented with this position straight on from the front. So, even if your legs cannot extend out to the extreme (180 degrees turnout) position, if you can raise the legs waist high in a leap, it still looks impressive.
All of the muscles around the pelvis, low back, and in the back of the the thighs (the hamstrings) can be gradually and constantly lengthened. The tendons and ligaments around your joints should not be pressured into tearing. They don't lengthen the way muscles do.
If you cannot stretch at the end of a class or a workout, put on leg warmers or sweat pants to go home in. This will keep you warm.
As soon as you have some time, even if you're doing homework reading or studying, sit down in second position on the floor. Do a stretch in second position, relaxing over to the floor over your book, and just hold the position. Do not bounce or pulse. Deep breathing is okay, and helps you relax. This is the yoga method of NO FORCE. After 30 to 60 seconds, slowly pull up straight and see if you can wiggle your legs out even a hair's width, without pain.
Repeat this stretch about ten times, not pushing into pain, but tolerating discomfort.
You have to get away from your book for the next bit - do a side bend, leaning to one side over your now stretched to the max sideways leg. Keep the other hip and butt bone down, on the floor. Hold 30 to 60 seconds. Repeat 4-5 times and do the other side.
This sideways stretch actually stretches your lower back muscles on each side of your spine. These muscles normally restrict movement so that in daily life you don't over stretch and tear your back. In controlled stretching, it's fine to stretch them out. This will allow you to maintain an upright position when you kick to the side. All from easy at home stretching while you get some studying done.
Now your basic ballet positions and your cheer leading leaps and kicks are going to look great!
Improve your basic ballet positions and cheer leading moves with THE BALLET BIBLE, a complete description of the ballet barre.
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