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Croisé L devant en pointe with arms in 5th position front or Vaganova 1st position

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Table of Contents

Part I: Valuable Vocabulary and Other Information 5

Part II: Methods of Teaching 11

Part III: Terminology 15

Part IV: Pointe Work 19

Part V: Various Valuable Information 25

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1st arabesque en pointe

June 2011

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Part I

Valuable Ballet Vocabulary and Other Information

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Beginning or ending pose for pas de bourrée couru

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French language Ballet terms are French because ballet began in over 400 years ago. It makes it easier for dancers from around the world to work together since they are all being instructed in the same language which they learn from their earliest training. One of the most common accent marks in ballet vocabulary is the “accent aigu” which is a slash mark above an “e”…….é or É. These are pronounced as a long “A” in English, such as “plié” or “dégagé”. If the slash above the letter, goes the other way, ignore it.

Aplomb Literally translated----assurance or poise. This means that the dancer is in full control of the body and limbs with the weight correctly centered during a movement. When the body is aligned and held properly, it is referred to as being “properly placed”.

Ballerina Unlike the common perception the word “ballerina” does not refer to any female who studies ballet or even to all professional ballet dancers. In the ballet world a ballerina is a dancer who has achieved a very elevated and respected status which places her among the very best danc- ers in the professional ballet world. Others must be referred to as “dancers” or “/ballet students”.

Prima Ballerina This is a title for the first or main principal ballerina in a company

Prima Ballerina Assoluta Literally, it means “first ballerina absolute”. This title has only been bestowed two times in the history of the Russian Imperial Theatres. It is rarely used today.

Principal Dancers This usually means the small group of dancers, male and female, who are the very best in the company who dance the leading roles. It is a level of competence. Some ballet companies have their own names for the ranks or designations of the level. For instance, in the , rather than calling their best dancers Principals, they are called Étoiles which translated from French means ‘stars’.

Danseuse The French word for a female dancer

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Danseur The French word for male dancer

Premier Danseur The leading male dancer in a

Soloists Typically, this is the rank below Principal. In some companies this is divided into 1st and 2nd Soloist. Sometimes there are other ranks before .

Corps de Ballet (Corps is pronounced ‘core’) The dancers in a company, male and female, who are not soloists or principals. They make up the majority of the dancers in a company. It is the equivalent of “chorus” in theatrical dancing.

Ballet Mistress/Master The person in a ballet company who typically gives the daily company class and rehearses the .

Classical Ballet This has two meanings. First, it means the traditional style of ballet that is based on an aca- demic technique which has been developed during the 400 years of ballet’s existence. Sec- ondly, it refers to any ballet in which the style and structure adhere to the framework estab- lished in the nineteenth century. Some classical ballets are , The Nutcracker and The Sleeping Beauty.

Variation A within a .

Divertissement This means a group or suite of in the middle of a classical ballet.

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Choreographer The person who creates or invents ballets or dances. In the ballet world teachers are not ex- pected to choreograph. This is left to people who have a special gift or talent and desire to create movement----usually former, or possibly current dancers. Some people with a big de- sire to choreograph start their own companies such as (New York City Bal- let)and Robert Joffrey (The Joffrey Ballet). Once in a while there are especially talented people who overlap into all these fields, but generally teachers develop dancers, and choreographers create the dances. There are very few choreographers of special note.

Ballet Dance Ballet dances are not referred to as a “number” such as, “the next number will be from Swan Lake.” One could say, “the next dance is a selection from Swan Lake, or the last variation was from Swan lake.”

Music for ballet Musical choices for ballet can range from classical music to popular, jazz, or even rap although classical is more typical. In making reference to the music, calling it a “song” as I have heard sometimes, is not acceptable.

Choreographic Style Ballet no longer means that all the needs to be classical. Many ballet compa- nies that employ dancers trained in classical ballet not only perform ballets such as Swan Lake, Giselle, Sleeping Beauty etc, but also include in their repertoire ballets by ballet choreogra- phers who create works in a contemporary style. They also hire modern choreographers to set their works on the dancers. Ballet dancers, these days, must be extremely versatile. In one program they may have to dance a classical ballet in tutus and pointe , a contempo- rary ballet in pointe shoes or possibly ballet shoes, and even a . There are also smaller companies that are called Companies, such as “Complexions” and “Cedar Lake Contemporary Ballet” in New York and “Lines” in San Fran- cisco. These companies are not to be confused with modern companies. The late George Balanchine is famous for not only starting , but also creat- ing a new type of classical ballet back in the 1920’s and 1930’s. That new, contemporary style is known as “neo-classical”. It was the first time anyone began to experiment and deviate from the strict classical ballet style. Many others have followed, imitated, copied and have been inspired by his innovative style.

Performances In the ballet world performances are not referred to as “shows”.

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Pas de Deux Literally means ‘dance for two’, but is normally a dance for a man and a woman when he ‘partners’ her by supporting her poses such as arabesque or attitude and pirouettes, and lifts her into the air. ‘Deux’ is not pronounced ‘do’, and is not pronounced “potty doo”. “Deux” sounds like it has a very soft ‘r’ at the end…….like ‘der’; say the ‘d’ and then barely add a soft ‘r’. “Pas” is pronounced like someone’s father………Pa’. Sometimes a pas de deux is simply referred to as a ‘pas’.

Grand Pas de Deux In a classical ballet sometimes a man and a woman perform a pas de deux that has several parts to it. Typically, a de deux has five parts: the beginning or entré, the adage (or main part of the partnering), the variation for the danseuse or female, the variation for the danseur or male, and the coda in which both dancers usually dance a very lively ending.

Partnering Normally partnering is when a man and a woman dance together, and he supports and lifts her. In rare situations it can be a man partnering a man or a woman lifting a woman. In ballet schools students take ‘partnering classes’ in addition to technique, pointe and character classes. In it is sometimes called ‘doubles class’.

Character Dancing Since ballet started in , European traditions have been incorporated. The national dances of many countries have taken on a ballet-flavor and inserted into several full-length ballets such as “Swan Lake”. You will find the ( Central European), (Polish), czardas (Hungarian) and other national dances not only on the stage, but also taught in ballet schools. Usually the men wear and the women wear character shoes which look like high heeled jazz shoes or tap shoes without the taps. The women can also wear boots that are especially made for character work. They fit snuggly and are made of very soft leather.

How to Address the Ballet Teacher In the dancing school world it seems to be common to address the instructor as “Miss Janice” or “Mr. Thommie”, but in the ballet world this practice is not followed. It is more traditional to either say “Ms Barringer” or simply “Janice” when speaking or referring to the teacher. Euro- pean or Russian female teachers are usually called “Madame ______” such as “Madame Danilova” or “Madame Darvash”.

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Part II

Methods of Teaching

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Standing in croisé, R foot devant, arms in 5th position low or Vaganova preparation position

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Vaganova/Russian School Agrippina Vaganova (1879-1951) was a famous Russian teacher who is well-known as develop- ing a teaching system that has become the basic method of the Russian School.

Cecchetti (1850-1928) was an Italian dancer and who codified a method of teaching ballet that is used all over the world. It has a definite program of strict routine and includes a table of set daily exercises for each day of the week. The Cecchetti Society was formed in in 1922 to perpetuate his method of teaching. Entrance to the society is by examination; students, as well, must pass tests to prove their expertise in this method.

French School The French School, or French method of teaching ballet, began in the court of the French kings. It was known for its elegance and soft, graceful movements rather than technical virtu- osity. Its influence spread throughout Europe and is the basis of all ballet training.

Royal Academy of Dance This English-based organization is an internationally recognized system that includes examina- tions resulting degrees, diplomas and certifications. It is referred to as R-A-D.

Bournonville August Bournonville, a Dane, developed this method of teaching and choreography for which the is well-known.

All of the Above Teaching Methods It must be understood that these teaching methods are simply different ways to train people in classical ballet. Even though most of the steps will have the same names, there are defi- nitely exceptions. For instance, the typical name for holding the arms over the head is “5th po- sition” or “5th position en haut”. The Russians call it “3rd position”. Also, the Russians’ “ tendu jeté is more commonly called “dégagé.” The arabesque and attitude posi- tions vary greatly. It ultimately doesn’t matter what the position or step is called as long as it is executed correctly. Once a dancer goes into the professional world, they must be able to perform steps and choreography the way the choreographer gives it to them. MOST SCHOOLS IN THE UNITED STATES USE A COMBINATION OF METHODS. There is no name for this. Recently, has put together its own teaching method.

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Ballet Companies In Europe and Russia ballet companies are far more numerous than in the United States. Most cities and even small towns have an opera house, and there will always be a ballet company associated with it. Because of this, it is common for American dancers to go to Europe looking for employment. Competition for the few jobs in this country is intense. Therefore, to make a living as a professional , the person has to be talented, hard-working, dedicated, disciplined, well-trained, and determined. There is no pampering or putting up with lazy or undisciplined dancers. There are too many people wanting their jobs……..or even a position in the ballet school. New York City is the home of two of the most prestigious ballet companies in the world; New York City Ballet…….referred to as “City Ballet”, and American Ballet Theatre…….referred to as ABT (the initials). Both companies normally perform in different theaters in a complex of Buildings called Lincoln Center. Other prominent American companies are San Francisco Bal- let, Boston Ballet, Joffrey Ballet (headquartered in Chicago) and Houston Ballet. There are quite a few other, smaller professional companies. Most of these companies have profes- sional schools attached. Among some of the better known international ballet companies are (London), The Paris Opera Ballet, The (Moscow), The Kirov Ballet* ( St. Peters- burg, Russia), The National Ballet of Canada, , The Royal Swedish Ballet, The Royal Danish Ballet, Het Nationale Ballet (Amsterdam), and Staatsoper Ballet.

New York City NYC is known as “the dance capitol of the world”. This refers to all types of dance. There are more dancers, dance teachers, dance companies, performances and opportunities for dancers in New York than any other city in the world. Unfortunately, in the last 25 years many dance teachers have moved away and studios have closed in New York simply because business can pay more per square foot to the landlords. New York real estate is horrendously expensive!! Nevertheless, it is still the destination for dancers when they have “time off”. They flock to “the city” to take class and attend performances. London is also a hub for dance. They have a section of the city where lots of theatres are pre- senting plays and musicals which is just like what New York calls “Broadway” or the “theatre district”. It is called the “West End”. Ballet is extremely popular in England and their former colonies such as Australia and New Zealand………much more so than in the U.S.

*After World War II, when Russia expanded their control into other countries and became The , The 's name was change to The Kirov. Now that communism has fallen and there is no more Soviet Union, the company recently changed its name back to The Mariinsky.

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Part III

Terminology

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5th position R foot front, arm in 5th position low or Vaganova preparation position

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Demi-hauteur Literally, this means half-height. It is a position of the working leg that is raised to a midway point between à terre, or on the floor, and what is considered full height…….approximately knee height.

Premier---first Deuxième---second Troisième---third Quatrième---fourth (as in à la quatrième devant or derrière) Cinquième---fifth Trois---three (as in entrechat trios) Quatre--- four (as in entrechat quatre) Cinq--- five (as in entrechat cinq) (pronounced, sank) Six--- six (as in entrechat six or six de volée) (pronounced, cease) Sept---seven (as in entrechat sept) (pronounced, set) Huit---eight (as in entrechat huit) (pronounced, wheat) Neuf---nine (as in entrechat Dix---ten (as in entrechat dix) Trois quarts---three quarters or 3/4

Épaulé Literally translated “shouldered”, this is a position of the body () in which the dancer stands in a pose at an oblique angle to the audience in an arabesque position (either à terre or en l’air). The body faces one or the other of the two front corners of the stage. The shoulders are square to the line of the direction and the arm nearer the audience is extended forward with the corresponding leg extended to the fourth position back. The head is inclined and turned toward the audience.

Épaulment This is a movement of the torso from the waist up which brings one shoulder forward and the other back with the head turned and inclined, usually over the front shoulder. The use of épaulment greatly enhances the beauty and artistry of ballet.

Extension This refers to the ability of a dancer to raise and hold the extended leg in the air.

Enchaînement A combination of two or more steps.

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Manèges, en A term applied to steps or enchaînement executed in a circle.

Tableau Literally, a picture, a grouping of dancers that forms a picture on the stage.

Turn-out This is the ability of the dancer to turn his or her feet and legs out from the hip joints to a 90- degree position. It is one of the essential principles of classical ballet. The purpose is to give the dancer the freedom of movement in every direction. Also, when the dancer is in a pose, a turned out leg is far more beautiful than one that is rotated “in”. Unfortunately, not everyone is capable of achieving much of a turn-out which means they are not good candidates for ballet. Top ballet schools audition children for spaces in the school. If they do not have the kind of bony structure that allows for a substantial turn-out, they are not accepted. I am referring to top professional ballet schools. On the other hand, most dancing schools and many colleges accept people on the basis of de- sire to study rather than on body suitability. Therefore, we teachers have to be alert to bodies that will not accept this position. If the feet are forced outwardly more than the hip is rotated, the ankle, knee and hip can be injured. What to do? Students can still benefit greatly from ballet without achieving full turn-out. One simply has to realize that this will not be the student’s profession. Ballet training builds beau- tiful and strong posture. It trains bodies to leap, turn, balance, move gracefully and coordi- nate movement.

Tutu The short classical ballet skirt that is made of many layers of net or tulle is called a . The romantic tutu is the long skirt that is calf length or longer, while the short tutu is what most people think of when they hear “tutu”.

White Ballet Nineteenth century ballets in which the corps de ballet wears white tulle tutus are commonly referred to as “white ballets”. Example: “Giselle”, “Swan Lake”, and “La Bayadère”.

Volé, volée Literally, flown or flying. Technically, it refers to a step that moves through the air, as in brisé volé or six de volé.

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Part IV

Pointe Work

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Effacé devant en pointe

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Pointe Work Teachers and students will need to know a lot more about this subject. The information below is simply an over-view.

Toe Shoes In earlier days this is typically what the shoes the female dancers wore that allowed them to rise up onto the tips of their were called. While “ shoes” is not incorrect, in more re- cent years they have been referred to as “pointe shoes”.

Pointe Shoes The specially designed shoes that allow the dancer to rise up onto the tips of the toes without causing injury are called pointe shoes. They are only worn by females except in rare exceptions such as in unique roles where men are cast as animals (pigs in “The Tales of Beatrice Potter” and a very few other ballets; more recently in Alexi Ratmansky’s ballet Bright Stream, which has a comedy section with a man dressed as a woman). Some men wear pointe shoes in class to strengthen their ankles and feet.

There are two ballet companies (“Trockadero” and “Ballet Grand Diva”) which are well-known across the world as being “drag” companies. That is, the companies which consist entirely of men, have many of them dressed “in drag” or in other words, dressed as women. They give themselves ridiculous Russian sounding names and entertain their audiences by creating clas- sical works with a twist. The men who are dressed as women wear pointe shoes, tutus, tiaras etc, but their feet usually are not as beautiful as a typical professional female dancer.

Pre-Pointe Shoes In the last few years several manufacturers have made “pre-pointe” shoes. They are also re- ferred to as “demi-pointe” shoes or “soft-block” shoes. The outer appearance resembles a pointe , but the block is softer and the shoe has no shank. These shoes are used to de- velop the muscles needed for pointe work later, and makes an easy transition from ballet slip- pers to pointe shoes. Typically, they are worn in “pre-pointe” classes which are simply classes that focus on exercises that will be taught in beginner pointe classes, but the students are not allowed to actually go up onto pointe. Some companies that manufacture these shoes are , Sansha, (RAD shoe), Capezio and .

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En Pointe or On Pointe? When reading about pointe work, you will see that sometimes being up on the toes is referred to as “en pointe”; sometimes as “on pointe”. They mean exactly the same thing. “En Pointe” is French and “On Pointe” is English. They are frequently used interchangeably.

Ribbons Ribbons sewn onto the shoes have been the traditional way of holding on pointe shoes. THE WAY THEY ARE TIED IS EXTREMELY IMPORTANT!!!!! If the ribbons are messy, if the ends come untucked, if the ends are too long and look bulky………….all of this is considered to be terrible! You will never see this in professional schools or with professional dancers. New pointe stu- dents must spend a lot of time at home practicing tying their pointe shoes so that when they get to class, they don’t waste time. New students are notorious for being slow-pokes in put- ting on their pointe shoes.

Sometimes advanced students or professionals don’t take the time to sew ribbons on their shoes they use only for class or rehearsal since so much of their time is spent preparing their many shoes worn each week. They rely only on the elastic to hold the shoe on. Most knowl- edgeable teachers and medical professionals think this is a strain on the ankle and is not a good practice; others think it is fine, and even require only elastic to be worn in some contem- porary ballets.

Elastic Even though many people assume that elastic is always sewn on to pointe shoes, that is not true. It is used to keep the heel of the shoe from slipping off when going into a relevé or just simply from dancing. Some people do not need it. Others dip the heel of their foot into rosin before stepping into the shoe.

Pancaking Shoes Some choreographers don’t like the look of shiny pink satin shoes, so they have the dancers sponge-on pancake makeup which is meant for the face and body. Many ballet directors pre- fer this look for “white ballets”. George Balanchine preferred the shiny look and never had his dancers pancake their shoes. Pancaking shoes is also a way to cover up dirt and scuff marks.

Types of Pointe Shoes In the past all pointe shoes were handmade by a cobbler. The box, or the part that covers the toes, was made hard by layers of paste or glue (made of flour and water) which was slathered over layers of burlap or (the English word for burlap) . After a long drying period, the boxes became hard. With each relevé the box begins to break down a bit. This is to cushion

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the dancers’ joints from impact with the floor. When they become too soft, it’s time to buy a new pair. In recent years manufacturers have started making some shoes with a much harder glue to enable the shoes to last longer. The down-side to this is that the shoes are more cumbersome which makes it more difficult for the dancer to dance lightly. Gaynor Min- den developed a shoe several years ago that boasts it will never wear out because it is made of “space-age” materials. In the last couple of years two English companies have developed shoes along this line. Now the dancer has so many choices of shoes that most people are be- fuddled as to what is the best for each person. What is most important is to get a GOOD FIT!!!

What is the Proper Age to go En Pointe? This issue has always been debated. First, the student should be well-placed, have strong legs and feet and a well-controlled torso. Many think that if a dancer goes on pointe too early, the bones in the growing child can slowly bend. Others say that’s not true. Nevertheless, most don’t put girls en pointe until at least age 10. The average age appears to be about 11. That is only when the child is studying ballet for an hour and a half two times a week. If they put on pointe shoes before they are ready, it will be a very frustrating endeavor.

Foot Structure Just as having “open hips” for turn-out, the pointe dancer’s foot structure dictates whether the dancer will be able to get fully on pointe. If the ankle is not flexible enough, then the weight of the body will not be up over the pointe. Therefore, it will be impossible to balance on pointe. It’s a fact of life; there is nothing that can be done.

Dyeing Shoes If a ballet requires shoes of a color other than the traditional pink, are usually dyed the same color to give the foot and leg a long line. There are exceptions such as when shoes are dyed black to look like a shoe.

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Croisé L foot devant en pointe, arms in effacé

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Part V

Various Valuable Information

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First position at the

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Flooring Whereas, in the past the ideal floor surface for ballet was considered to be wood on top of a “sprung” floor, recently vinyl floors that are put down in rolls on sprung surfaces are much preferred. They are commonly called “Marley” floors because that was the name of the first vinyl floor. The correct term is “vinyl” floors. Numerous companies make a variety of these floors that are geared for different types of dance. The main advantage is their non-slip quali- ties that do not require resin.

Non-sprung floors are very destructive to the body because there is no “give” or “rebound” which means when jumping or doing relevé, instead of the floor “giving”, the joints will take an enormous impact which can eventually cause injury.

Slippery floors not only make it difficult to keep one’s balance, but when pushing into a jump or into a turn, a sprained ankle can result or even worse. Falling has caused such serious inju- ries that sometimes dancers’ careers are ended.

Ballet dancers need more of a grip on the floor than other dancers because their shoes have less of a grip……………. particularly pointe shoes. Many times there are big conflicts with mod- ern dancers since their bare feet will perspire making them stick to the floor. They, many times, put talcum powder on their feet which will make the floor even more slippery for ballet dancers. Jazz and hip hop dancers who wear that have rubber bottoms present problems for ballet dancers, too, when dancing on the same programs. I always feel it is bet- ter to cater to people who could break their necks if they slip rather than to people who just have a difficult time turning.

Temperature of the Room, Studio or Theater In the years before air conditioning was commonplace, dance studios were always a moderate temperature. Muscles that are cold contract and are resistant to movement. The heat that is produced by exercise relaxes these muscles which not only makes it easier to stretch and move, a warmed-up muscle also will not be prone to injury. When a contracted muscle is called upon, it can actually rip or tear rather than stretch. That is why dancers should always train and perform in warm rooms. Unfortunately, the general public has become accustomed to air conditioning in modern times, and they feel uncomfortable if they began to get moist. (I grew up in Florida and danced in studios that were cooled with exhaust fans. No one fainted.) Most modern construction necessitates air conditioned buildings. Professional ballet schools are sure to set the thermostat at a temperature that keeps the dancers healthy while allowing the muscles to work safely. Major professional companies have written into contracts with theaters that they will not perform is the temperature is not at a certain level.

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Warming Up The body has to slowly warm-up with gentle exercises first before moving on to the more vig- orous ones. When the body is physically exerted, it begins to perspire. This is desirable for the dancer. Young students who have not mentally comprehended the complexity of the human body sometimes simply begin to run, jump, kick……….stretch their bodies to the limit. While a youthful body can many times get away with this without injury, sooner or later their luck will be up. Out of the blue, they will pull, rip or tear a muscle. It is a shock. And it is a lesson that is not soon forgotten because muscles take months to heal. They are slow healers.

In order to preserve the body, before any performance or rehearsal, all dancers should go through a meticulous exercise routine to insure their bodies are completely warmed-up and ready to use. If they are in a cold room, leg warmers, sweaters and jackets should be worn. It is common for ballet dancers to wear the down-lined (goose feathers) big that are thought of as skiing booties after their warm-up and before performance. They will put on these booties, sweat clothes or a warm robe or shawl while they put on their makeup, fix their hair and prepare for that evenings performance. They do their best to keep heat surrounding their recently exercised bodies. Then, as the performance time nears, they usually give them- selves another “barre”, meaning they go through pliés, tendus, dégagés, rond de jambe etc. before curtain time.

Ballet Dancers’ Health Typically speaking, ballet dancers are required to be thinner than not only average citizens, but also other types of dancers. There are concerns about dancers becoming anorexic when they try to get as thin as possible. This rarely happens with professionals because they realize it is impossible to have the strength necessary to dance if one is not healthy. To achieve the desired weight, they must be very disciplined about eating a diet that is well balanced……..lots of fruits, vegetables, whole grains, proteins and NO EMPTY CALORIES. Without this discipline they will not be chosen in auditions. Even after being accepted, dancers are frequently fired for putting on too much weight. Ultimately, this requirement is nothing more than eating healthy foods to be healthy.

Typical Injuries Sprained ankles seem to be the most common injuries for ballet dancers. If the sprain is not terribly serious, it can be treated as follows: (1) elevate the affected leg (2) surround the in- jured ankle with a bag full of ice (3) tie it on securely. It’s easy to remember RICE-----Rest, Ice, Compression, and Elevation. Keep the ice on the ankle for the most part of 48 hours to pre- vent swelling. After that, the torn areas inside will no longer bleed (internally).

Knees and backs are also commonly injured. Forcing turn-out is a major reason for injured knees. Swayed backs and tight muscles in the lower back can bring on back spasms.

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Medical Treatment My advice to students and teachers is to call the closest professional ballet company to your town or city. They will give you advice on the doctors they use for their dancers. IT IS VERY IMPORTANT TO CHOOSE THE DOCTOR CAREFULLY!!!!! Doctors, no matter how good they are with the general public, have a tendency to give bad advice or incorrect treatment to danc- ers……especially ballet dancers. I have heard of two doctors that wanted to operate on stu- dents who were well turned-out. Can you imagine??? We work so hard for turn-out, and a doctor wants to operate to reverse this because he thinks it is peculiar. They have a tendency to ‘talk-down’ to us by saying, “well, how much longer are you going to do this” when they really don’t know what is wrong. There are some sports medicine doctors who have become fascinated with dance, and have studied it just so they can understand what we go through. In New York there are clinics that specialize in treating dancers. It’s wonderful!

Types of Doctors for Dancers Frequently dancers go to chiropractors to stay ‘in tune’. Massage therapists are also kept busy with dancers whose muscles are tired, overworked, and tight. When an actual injury occurs, many times a doctor sends dancers to physical therapists. There are PT’s who work primarily with dancers in places such as New York. Of course, if there is an injury concerning bones, or- thopedic or podiatric doctors are used. Again, it’s best to always go to any of these specialists who are accustomed to working with dancers so that you are spoken to with respect and a real concern for getting you back to work.

Supplemental Training For many years ballet dancers have spent their free time studying Pilates, yoga, and Feldenk- rais. Male dancers work with weights to develop their upper bodies for partnering. Dancers have to be careful about other types of exercise for fear of it working against ballet training. Elongating muscles is an integral part of ballet. Most forms of exercise do not lengthen as they strengthen resulting in more bunchy, bulky muscles.

How Long Does a Career in Ballet Last? A ballet dancer’s career is short. It can be compared to a baseball pitcher or other athletes. Dancing until the age of 40 is something many dancers do not achieve. A few dancers perform into their early or mid 40’s. There have, of course, been exceptions to this rule when someone may continue to perform until age 50 or even beyond, but it is very rare; and come to mind. In Europe many companies require their dancers to retire at age 40.

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Should Ballet Be Studied to Help Other Pursuits? is universally known as the basis for all movement. The alignment and the many exercises that make up a ballet class have been devised to build a body that is on bal- ance at all times, can turn, leap or jump, walk or run with ease and control. There is no other form of exercise or dance that is so thorough and all-encompassing. All accomplished profes- sional dancers as well as many athletes such as ice-skaters and gymnasts include ballet in their training regimen. Therefore, studying ballet is beneficial even if the student has no intention of becoming a ballet dancer. Most dance teachers encourage or demand their students study ballet along with jazz, tap, hip hop, or modern.

Grooming HAIR Whether for the classroom or the stage, a dancer’s hair should be neat and secured off the face. Some choreography requires girls’ hair to be long and flowing, but normally, the hair is worn in either a type of bun or the more popular French twist. DANCE GARMENTS When a dancer is still a student, the school should have a rigid dress code. Many have a differ- ent colored for each grade level along with pink tights and shoes for the girls. It is like a uniform. Once a dancer is professional, he or she may choose whatever dance garments they prefer for class or rehearsal. When a tutu ballet is being rehearsed, the girls frequently wear a rehearsal- tutu, which is an un-embellished skirt, over her leotard.

Taking Class Dancers intent on having a career as a professional ballet dancer should be taking class every- day by the time they are teenagers. Even after dancers are adults and have joined companies, they still take a morning class everyday (well, maybe six days a week) before rehearsal. These classes normally last between an hour-and-fifteen minutes to two hours. Most common would be an hour-and-a half. Class is not just for warming up. It is to maintain the body’s strength and stretch that has been achieved from years of training. Remember the old saying, “if you don’t use it, you’ll lose it.” Sadly, it is true.

Open Classes In a few large cities like New York (especially), Los Angeles, London, San Francisco, and Boston there are enough dancers that allow dance studios to schedule classes without having registra- tion. The classes are scheduled, and people simply “show up”, many times different people everyday. This is not only for ballet, but for all kinds of dance. In New York Broadway Dance Center and Steps on Broadway are two well-known studios that offer “open classes”. This is ideal for people visiting the city who want to drop in and take a few classes while in town. It’s also ideal for dancers who aren’t regularly available at certain hours. This would not apply to children’s classes.

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In these open ballet classes in New York are not only ballet dancers, but also former ballet dancers, modern, contemporary, Broadway, jazz and other dancers who realize that taking a ballet class in the morning is the best way to stay in dancing-shape.

Ballet as a form of Exercise Many people who studied ballet growing up but go into other careers, like to continue taking classes for exercise. Most professional schools offer “adult” classes for people who may not have remained in good shape, but understand the steps and format of class. These adult classes are not for beginners, and can be very enjoyable as well as a way to keep up with a for- mer beloved pursuit. Adult beginner classes are also offered in many cities for people who prefer this over going to the gym.

Classroom Deportment Studying ballet is a serious endeavor. Students should treat the teacher and accompanist with the utmost respect. There should be no talking unless the teacher asks the student a ques- tion. The students are expected to focus their minds, work very hard, and go by the rules. In our modern culture which pampers children more than in the past, it has become very difficult to demand this behavior………especially in a dancing school setting. Other forms of dance are usually more relaxed. The children are used to chatting and have a difficult time changing their behavior for ballet class. When the parents ask the teachers to lower their standards by saying, “we just want the child to have fun,” it’s time to make them realize this is not a recrea- tion; it is an art form which requires concentration and years of study. If the standards are lowered, it is no longer ballet. Ballet is far more than specific steps.

College or a Career? Modern dance has been strong in colleges for many years, but finding a good ballet program that will prepare a dancer for a career has been almost impossible* until recently. In fact, most people involved in the ballet world have assumed that a dancer wasn’t really good if they went to college since a properly prepared dancer would go directly into a ballet company upon graduation from high school or even before. It typically would be too late to get into a major company if one waits to finish college. Note that I said “major company”. BUT THERE ARE NOW SOME EXCEPTIONS. If a student wants to be a professional ballet dancer, he or she should be very careful in look- ing for a college that has a strong ballet program.

*A few exceptions have been Butler University, Indiana University, North Carolina School for the Arts and a few other schools.

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Discipline This word should have been at the very beginning because ballet is all about discipline. Even when students decide not to pursue ballet as a career, the discipline that is learned in this pur- suit will carry-over into other aspects of life. The mental focus, the physical exertion, the tol- erating of pain, the required daily classes, and the fact that to master this art takes many years requiring patience, are some of the factors involved. Respect for teachers and people in au- thority is also demanded. Hard work is the only way to master this art. While this sounds a bit gruesome, the emotional rewards are worth it to those who have “the calling”. When other dancers following a different path discover how much ballet technique will improve their dancing, they also become committed to this rigorous and thorough training.

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Cou-de-pied derrière en pointe

33 Additional Ballet Literature from Janice

ON POINTE BASIC POINTE WORK AND A LOOK AT THE USA INTERNATIONAL BALLET COMPETITION, BY JANICE BARRINGER AND THALIA MARA ($19.95)

PART 1: Presents a clear and simple exposition of be- ginner-low intermediate pointe work, while inspiring students towards higher achievements.

PART 2: A look at the USA International Ballet Compe- tition which goes beyond the basics by providing in- formation about preparation for competition. The book concludes with a biography of Thalia Mara.

THE POINTE BOOK ($19.95) by Janice Barringer and Sarah Schlesinger.

This guide provides a thorough examination of the and pointe shoes. Dancers tired of their pointe shoes wearing out too quickly benefit from research that illu- minates the shoemaking process and tips that show how to best fit, care for, and custom order their shoes. Interviews with ballet stars Paloma Herrera and Jenifer Ringer reveal their highly evolved but proven methods of caring for pointe shoes. The basics of the pointe technique, different pointe methods, and the history of pointe are discussed. A handy reference on pointe-related injuries and their remedies is in- cluded. It offers the latest information on contemporary de- signs, materials, products, and suppliers. A sampling of pointe technique schools around the country offers an au- thoritative syllabus for teachers and students alike

Purchase online at www.musicworksunlimited.com or call 1.866.493.7400

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