Dance Education

By Dianne M. Buxton

There are a lot of options available in pointe shoes now, and
if I were a young student I would be mightily confused. And yet
relieved, too that there might be a shoe that will fit exactly
right, and not be too painful to work in.

If you are a parent reading this, please be aware that there is
a considerable financial aspect at stake here. Pointe shoes
cannot be purchased to grow into. They must fit like a glove, to
be simplistic at the moment, and may not wear out before the
student grows out of them. On the other hand, if your child has
a high arch, shoes may be broken completely and useless for
pointe work, in a matter of a few classes. This situation will
improve as the feet strengthen, but must be put up with until
then. However, such students can remove the inner sole, soften
what is left of the box with their hands (if necessary) and wear
the shoes as soft shoes for regular classes. This saves buying
soft shoes, unless they are a requirement, such as for a ballet
exam.

At a student's first fitting, a lot of time must be taken. If a
fitter or a dance teacher is available, that is a real plus. Not
all stores may have experienced fitters.

The individual's foot shape must be examined. The length and
tapering of the toes, the width across the metatarsals, the
height of the arch, and the depth of the foot must all be fitted
correctly. Badly fitting shoes can contribute to sprains and
permanent injuries. Good technique can make up for bad fits, but
the tolerance of the resulting pain is a waste of the dancer's
concentration.

Before you get to the shoes, think about what you might want to
use for protection inside the shoe. This will take up space. The
variety of gel pads, toe length adaptors, toe tips and all the
other things are wonderful, but make sure you have room for
them. You may be a fan of a ballerina who has stated "I never
put anything in my shoes because I like to feel my feet".... and
you should definitely try that after a few years of pointe work
- but not now.

The boxes of pointe shoes come in tapered shapes, and square
shapes. They must fit so that the foot does not sink into, or
slide around inside the box. A longer second toe usually
requires a slightly tapered, narrow to medium box, but there are
no hard and fast rules. A longer big toe may also feel more
comfortable in a tapered box, but every shape of shoe must be
tried on.

Take a pair of tights with you, to put over your foot and try
the shoes on. For your first fitting, don't wear the tights, as
the fitter may ask to see your toes, if there is a problem
getting a fit. Just in case.

You can check the vamp needed by rising up to 3/4 pointe, and
seeing if the shoe break is wear your metatarsal joints are. Too
high a vamp will impede the foot movement, and too low a vamp
will not provide support.

The stiffness of the shank will be determined by the arch
height and ankle flexibility. You need to be able to get up onto
pointe fully, so that you are not working leaning into the back
of the box. So the shank must give support
but not present so much resistance that you can't work
properly. Most shoes will break in, and keep breaking in until
suddenly they are worn out! That's the life of a pointe
shoe..... Gaynor Minden's are different, and that site explains
exactly how. They don't break in, so you need to buy exactly
what you want to work in. I have never worn them, so please do
your research for exactly the right fit with those shoes.

When you are up on pointe, there should be about 1/4 inch of
spare fabric at your heel. If there is none, the shoe is too
short. If there is more, the shoe is too long. Also, if you do a
demi-plie, and your toes are mashed into the box, hurting, the
shoe is too short, too narrow, or both.

The vamp should not gape or wrinkle - neither should the sides.
There should be equal pressure from the shoe all over the foot.

I've tried to keep these articles fairly short - but like your
first few fittings - time, patience and detail is needed.

About the Author: Dianne M. Buxton is a graduate of the
National Ballet School of Canada. She continued dance training
at The Martha Graham School of Contemporary Dance, and Toronto
Dance Theatre. She taught at, and choreographed for The National
Ballet School, York University, and George Brown College, in
Canada, and taught at Harvard University in the U.S.
http://www.theballetstore.com provides articles on fitting
pointe shoes, and strengthening exercises, for male students
too.

Source: http://www.isnare.com

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BALLET CLASSROOM ETIQUETTE
 
Proper classroom etiquette is essential to the education and training of a ballet dancer.  The following rules are universal and are followed by all major ballet programs and professional companies.  Additional rules may also apply.  
 

• Wear appropriate dress code as specified by the school
• Hair is to be pulled back off face and neck in a neat bun.
• No jewelry (except for small earrings) is to be worn to class or rehearsals.
• Elastic is to be sewn on shoes.
• No gum chewing, eating, drinking or smoking is allowed in the studios.
• Talking, leaning on barre, yawning or leaving class before is over is not acceptable. If a student needs to leave before class is over, he/she must ask to be excused by teacher.  Please do so discretely so as not to disrupt class.
• Arrive early at least 15 minutes before class. If late, wait for the exercise in progress to be over before entering the studio.  Students arriving late may be asked to observe instead of participate.
• If you are going to be absent call the office so that the teacher can be notified before class begins.  (If a make up class is available for your class level, arrangements can be made then.)
• Stay in the back of the room if you do not know the combination.
• Eyes and attention must always be on teacher.
• Be appreciative of corrections and apply them. 
• Students will progress only as fast as they can take corrections.
• Students should never stop in the middle of an exercise unless an injury is sustained.
• Do not talk back to teacher regardless of the situation.  It is improper to question the teacher's authority. If you have a problem, talk to the teacher after class.
• Be kind to your classmates. Displays of temper and rudeness are unacceptable.   Absolutely NO gossip!!!!
• After class applaud pianist and teacher and thank teacher for class.
• Keep your things neat in the dressing room and use the trash can.
• Because of the sweaty nature of class, please bring a towel to class and use it!
• Do not wear your ballet shoes outside the studio and wear street clothes over uniform when leaving the studio.
• Please label belongings, including shoes, and do not bring valuables to the studio!

7 Highly Effective Habits In Ballet Training
By Dianne M. Buxton

A key area of dancing for females is pointe work, and a key
area for males is jumping. In early training, regardless of age,
there are 7 highly effective habits that will contribute to
excellence in both these areas. This analysis can apply to other
areas of dance in the same way also, I'm choosing this one for
the sake of discussion.

***First, education as to specific physical attributes and
shortcomings. Every dancer would like to have long and stretchy
Achilles tendons, and flexible ankles. These 2 advantages
provide the biggest movement between the bottom of a demi-plie
and the take-off point of a releve or jump. One of the dancers
in my class at the National Ballet School of Canada had a very
shallow demi-plie. Yet, she had very flexible ankles and a high
arch, and this gave her the thrust to jump very high.

***Second, technical education . Regardless of physical
advantages, understanding of the ideal movements and resulting
positions can be obtained from an educated teacher, books, and
the many DVD's available to all through internet stores. There
is no restriction on our access to information.

***Third, a teacher who not only has decent credentials, but
who has the required habit of demanding correctness in class.
This is a variable, and inexperienced teachers do not realize
how often they are going to repeat the same old correction over
the years of training, to the same students.... in a million
different imaginative ways, and with appreciation for your own
uniqueness too.

***Fourth, knowing that there is cross-training that will help
you compensate for your physical shortcomings. If you are less
flexible than you would like to be, there is Pilates, massage,
or Yoga. If you are flexible but weak in some areas, Pilates,
and weight training will help.

***Fifth, knowing where more details count - if your habit is
curiosity, that's a huge asset. If it's not, adopt it. Studying
anatomy and kinesiology is a plus. (I know you already have
homework or a job, or family obligations, but hey, if you are
serious about dance, all this is just more fun, right?)

***Sixth, coordinating your knowledge of your physiology, and
how you might be compensating detrimentally to get the deepest
demi-plie and best take-off that you can, and instead compensate
more with cross-training and less with bad habits. It's only a
life-long process, don't get discouraged.

***Seven, a truly habitual appreciation of your own uniqueness,
talents, intelligence, and determination. There will always be
an invitation to doubt yourself, envy others' real or imagined
superiority, and waste time thinking negative thoughts.

Proper rest and good nutrition have a lot to do with #7. Body
and brain fatigue, and nutritional deficiencies are directly
related to mood. Please be curious and get the information you
need.

These 7 highly effective habits are just the tip of the
icebergs, but they are a great guide to go with until you
develop your own uniqueness in training priorities.

About the Author: Dianne M. Buxton is a graduate of the
National Ballet School of Canada. She continued dance training
at The Martha Graham School of Contemporary Dance, and Toronto
Dance Theatre. She taught at, and choreographed for The National
Ballet School, York University, and George Brown College, in
Canada, and taught at Harvard University in the U.S.
http://www.theballetstore.com recommends The Ballet Bible - a
concise package of textual and visual education for a dance
student.

Source: http://www.isnare.com

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How To Choose A Ballet Teacher/Feet And Turnout
By Dianne M. Buxton

How the bottom of the foot contacts the floor is very
important. Whether standing on a stretched leg, or in a plie,
the ankles and soles of the feet should not be tense. The
tension in the ankles will be correct if the turnout is held
from the top of the thighs, down to the knees, by the back of
the thighs and inner thighs.

The foot may be naturally high under the arch, or flat along
the floor. The foot should not be rotated towards the outer
ankle joint in an effort to show an arch lifted off the floor.
It doesn't matter if the foot is flat, when you are standing on
it. It is important that the foot and ankle are not tensely
trying to hold a position. Ankles may fall in if the arches are
fallen and many peoples' are. Holding the turnout from the
thighs will lift the inner ankle slightly, but that isn't the
point.

There are very simple exercises to strengthen the sole of the
foot, aside from the numerous tendus, degages and sautes in a
class.

But let's go to turnout first. Ideally the 180 degree turnout
of the foot positions comes from the turnout of the legs inside
the hip joint - and it actually does for the most flexible dance
student. Children and adults who take ballet once or twice
weekly should never be allowed to turn their feet out more than
their thighs can turn out. A good teacher will NOT allow this.
In choosing a ballet teacher, extreme forcing of the foot turn
out is easy to spot, even when the legs are straight; the knees
will be pointing in one direction and the feet will be turned
out to another direction. In a plie, or knee bend, even a slight
exaggeration of the foot turnout is noticeable to an untrained
eye, and the ankles will be rolling forwards and down as well.

A conscientious teacher will not allow unrealistic foot
positions at the expense of healthy knee ligaments and ankle
muscles. A constant sprain/strain of the knees and ankles is
occurring with a forced turnout.

A well-trained teacher will instruct students to work with the
flexibility that they have, and will teach stretches that may
improve it. I say may, because some people do not get much more
flexible with stretches, no matter how dedicated they are, yet
most will see improvement. The importance is being able to HOLD
the turnout that you have, while moving through adagio, jumps,
and pointe work. And anyone can do that if they understand how
to do it, and have the concentration to do it repeatedly.

Good technique DOES matter even if you are studying for
enjoyment, with no professional aspirations. Straining off
balance, working the muscles incorrectly and getting injured
hardly leads to enjoyment. The overall development of strength
and attainment of grace is more attainable if the basics are
correct.

A wonderful exercise to strengthen the turnout is as follows:
lie down on the floor on your back, feet in first position,
flexed as though you were standing. Because there is no weight
on the feet, you can turn your feet out for more feeling in the
turnout muscles at the top of the thighs. Press the back of the
legs into the floor, and move the legs, feet still flexed,
slowly outward toward second position. Keep pressing the back of
the legs into the floor, and don't let your back arch. You may
only be able to go an inch , - but you'll feel those turnout
muscles! Do that ten times every day and you will be much
stronger standing up and doing the regular class movements. You
won't regret investing time in this exercise.

About the Author: Dianne M. Buxton is a graduate of the
National Ballet School of Canada. She taught there for several
years, and also taught at York University and George Brown
College in Toronto, and at Harvard University.
http://manifestingsuccess.blogspot.com

Source: http://www.isnare.com

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Choosing A Good Ballet Teacher/Good Posture
By Dianne M. Buxton

In choosing a good ballet teacher pay careful attention to the
postures you see in the students you observe. While the teacher
is not responsible for posture acquired before a student begins
training with her or him, she/he is responsible for establishing
correct posture at the beginning of every exercise in the class.

The spine has a natural curve. The back should not be swayed
with relaxed abdominal muscles, nor should it pulled into a
straight line with the pelvis tucked under and the abdominal
muscles bunched. The correct support of a natural curve in the
spine will develop the whole body correctly.

Abdominal muscles should be pulled UP and flattened. The
diaphram should be firm but not pulled in and down. The sides of
the ribs should expand for breathing. This way the chest will
lift to breathe, but not noticeably. If the chest is held
properly, the shoulders can relax. Shoulders should never be
pressed downward, or a fluid use of the arms will not be
achieved.

The head floats. It is a feeling of one's vision reaching for
the horizon, not a chin lift. This allows for free and natural
head movement even though the body is working hard below.

The arms move easily from the shoulder joints, the fingers are
placed in an easy manner, not tense and spikey looking. The
thumbs relax parallel to the index finger, not clenched against
it, or sticking out away from the hand.

Each individual has imperfections, or say differences, of
physique and posture compared to the ballet ideal. A good
teacher will take care to correct what the student is doing, as
opposed to commenting on what the student innately has (or is
stuck with, as the less ideally formed usually think). Although
from an instructional viewpoint, a teacher could point out to a
student who has very wide shoulders, that a high 5th position of
the arms (5th en haut) could be elongated, to detract from the
wideness of the shoulders.

After all, this is about theater, and the arts of illusion. (In
the advanced classes when the body is strong.)

Starting every exercise in the correct posture of the spine is
essential to developing strength and grace, and preventing
sprain, strain, and unnatural mannerisms.

It is also wise to have your skeletal alignment checked with a
chiropractor periodically, especially if you experience joint
pain or severe muscle spasms. Muscle spasms can also be due to
dehydration and exhaustion of your electrolytes, or a
calcium/magnesium deficiency. Please don't reach for a popular
sports drink. You need full mineral salts as in from 'all 12'
cell salts, a homeopathic tablet, good sea salt on your food,
and cayenne pepper is great for replenishing minerals. But all
that really is another article.

It's always best to check out a beginning level and a more
advanced level class in any given studio, to watch and listen to
how a teacher instructs, and to see how persistent she or he is
in demanding good basic technique.

All the best.

About the Author: Dianne M. Buxton is a graduate of the
National Ballet School of Canada. She taught there for several
years, and also taught at York University and George Brown
College in Toronto, and at Harvard University.
http://manifestingsuccess.blogspot.com

Source: http://www.isnare.com

Permanent Link:
http://www.isnare.com/?aid=119231&ca=Wellness%2C+Fitness+and+Diet

How To Choose A Ballet Teacher - Why Good Technique?
By Dianne M. Buxton

Ballet absolutely should be - well, fun - was not the word I ever thought of when I was a child in class. Being in class and struggling along with the other girls was fun. A sense of accomplishment was satisfying. Strict teachers could be terrifying but the accomplishment seemed all the more when
approval was expressed.

The yearly performance was important. A goal, after the dreaded
exam was over for the year, a goal involving real presentation -
nervousness and excitement that usually seemed a lot more worth
it to me, than the exam in the ugly tunic. No covering up those
technical imperfections that a tutu or some other poetic garment
would upstage!

Many students have a sense of pride and a fairly realistic feel
for authentic technique and elegant style, unless they have
never seen good ballet. Strength and control and poise are
elements of training that build a real grasp on life experience
for a child, or an adult for that matter. Training later in life
can be a serious and meaningful pursuit - whether an adult is a
beginner or reviving former skills.

A good teacher can be mercilessly picky about technical basics,
and still offer a variety of exercises, with much elegance,
grace, and FUN.

SO it MATTERS even if your child may take ballet for only a
year or two or three. There may be a later interest in jazz,
karate, tap, modern dance or acting, all of which will benefit
from a little grounding in safe, properly taught technique and
artistic presentation. Discipline - actually self-discipline,
which isn't really discipline because you're doing something you
want to do - say dedication is a better word, dedication can be
discovered. It is wonderful to find out that you can be
consistent, work hard, with the required concentration and I
don't know what can do that better for a student than a fine art
or athletic training.

Education in general does not offer such a rarified experience
of oneself. Such hard work that is ballet is a unique and very
personal activity, the level of understanding and physical
application that can be achieved in the simplest of exercises is
REAL accomplishment, that can never be taken away.

It is just wonderful to impress yourself occasionally, also,
with something that matters to YOU.

So to recap on some points of what you want to see clearly in
viewing classes - (or just go to my other articles on How To
Choose a Ballet Teacher - re posture, turnout, and general
overview,) you hopefully will see a teacher who takes time at
the beginning of each exercise to check everyone's posture - who
watches and instructs on safe turnout (feet, knees and thighs
all turned out the same degree) and who is persistent and
repetitive in teaching technical points AND is also able to
combine artistry into her/his exercises as well. If so, you've
got a keeper.

About the Author: Dianne M. Buxton is a graduate of the
National Ballet School of Canada. She taught there for several
years, and also taught at York University and George Brown
College in Toronto, and at Harvard University.
http://manifestingsuccess.blogspot.com

Source: http://www.isnare.com

Permanent Link:
http://www.isnare.com/?aid=119238&ca=Wellness%2C+Fitness+and+Diet

Figuring out which dance school to choose can be a complex and often confusing process.  In the United States literally anyone can open a dance school regardless of their qualifications or lack thereof.  Distinguishing a school that teaches proper technique from those that offer what can be called “edu-tainment” can be frustrating.