PSA: Never run backwards!

Very few things in ballet are absolute. There are a million ways to approach pirouettes en dehors. Different schools teach arabesques with conflicting arms. One dancer's pas de chat is another's saut de chat.

However....

Never EVER EVER run backwards in a class.

Unless you are performing choreography, you should always move in the direction of the combination. Typically this means exiting downstage and to the right or left.

But why, I hear you asking...

Because the group coming behind you isn't expecting you to run at them. You might get in their way or worse, injured if they can't avoid you. You will probably also get cursed at.

But what if the combination doesn't travel much, I hear you add...

Because the group coming behind you isn't expecting you to run at them. You might get in their way or worse, injured if they can't avoid you. You will probably also get cursed at.

But I messed up the first few steps and I'm soooo close to the back, I hear you insist...

Because the group coming behind you isn't expecting you to run at them. You might get in their way or worse, injured if they can't avoid you. You will probably also get cursed at.

But--

No. Just don't. It's very poor classroom etiquette. People won't like you. They'll complain about you to their friends. They might actually kick you if you're in their way. So don't do it.

I wish I could say this is something I see only in beginner classes but it's in advanced classes too. When I am teaching, you better believe I stop the class and say, "No! Don't do that!" In a nice way, of course. 

When I am not teaching, however, all I can do is telepathically send a message to the dancer who is running back through the group coming up next. No!!!! 

Happy dancing~
 

New "Ask me a question" feature! Possibly involving zombies...

Every day it seems I get a new subscriber to the YouTube channel where I have my short videos about ballet (thank you!).  Often I will get questions from people about more specific issues they are having. I try to answer them on the channel but then only the questioner gets the feedback.  Sometimes it's a response that could be helpful to others. 

But a few weeks ago, I got a laptop that has a webcam so now I am thinking about adding a new feature to the channel and to my blog here, 

Ask a ballet question! I'm considering calling it "Ask a Zombie Ballerina" but we'll see...

So start sending in your questions about ballet to my email: LeighBalletLA@gmail.com. They can be about technique or classes or stretches or anything you have problems with: turns, allegro, adagio, performance, pointe, etc. I have limited knowledge about injuries (not a doctor!) but sometimes I can offer a suggestion that will help with alignment.

Happy dancing~

The correct way to compare yourself to others

Newbies are smart to observe others who are more experienced and to compare how an advanced dancer performs a combination to how they themselves are doing it.  When you don't know much, you need to watch dancers who know what they're doing. Careful observation and even mimicking will teach the muscles and brain what is correct and what isn't. As a teacher, I try to point out when someone is doing something the right way (or the way that I prefer) so that other students will learn how to recognize a correct step or line or phrasing. Hopefully a Newbie will aspire to be that student who has been held up as an example!

But once dancers have made some leaps and bounds and perhaps plateaued once or twice, comparisons tend to veer toward the simplistic "Who's a better dancer?" variety. This type of comparison is a hindrance to progress, especially for those students who come to ballet as adults. They consider solely the length of time they've been studying and then look at other students who may have been similarly trained and they think, "Why am I not as good as she is??

As an adult it's easy forget that things took time to learn. You didn't learn to read or write overnight.  You didn't learn to drive overnight. You didn't become CEO or manager overnight. Why on earth should you expect to be a ballerina overnight?

If you are a parent of two children, one of whom learned to ride a bike quite quickly while the other struggled with it, would you encourage the second child or discourage her?  Of course that isn't even a question!  You would tell your little girl to keep trying and eventually she will get it.  You would tell her that everyone progresses in their own time, at their own pace. And you would tell her that she can learn from her sister but not to compare herself to her.

You are no different! And I am here to encourage you, to tell you not to compare your own technique to that of someone who may have far more experience than you think, who may take more classes than you do on a regular basis, who may have a different lifestyle and job and stresses - and genetic gifts. You are an individual with your own talents, perhaps ones that you may not even realize.  You may have an amazing balance in your turns or fast feet in allegro or a performance quality that makes you shine on-stage.

So I just said that comparing yourself to others is nonsense; yet the title of this post suggests otherwise. What's the deal with that? There is a good way to compare:

As adults, we can glean a lot from watching others.  We are mature enough (hopefully!) to understand that a compliment to one person does not mean a negative comparison to others. If I tell a student she has performed a pirouette well, that takes nothing away from you. That does not mean you did not perform it well.  This is the mature part of the comparison.  You hear me tell a student I liked her epaulement in the adagio - then watch and learn! Don't tell yourself you must have done it poorly simply because I didn't acknowledge it.

I may have years of experience under my belt but I still learn from the observation of others - not to ask, "Is she better than me?  Do I dance as well as she does?" If I am drawn to watch a dancer in class, I want to know why.  What does she do well that I can learn from or, at the least, appreciate?  That is the sort of comparison you should make for yourself.  Not good vs. bad or right vs. wrong.  Ballet, like life, is not so simple.  Mature comparison to others will encourage you in a healthy way, rather than a competitive one.

Happy dancing~

Classroom surprises!

Every teacher wants to believe she gives a good class, one that anyone could enjoy at some level. If you are a beginner taking a more advanced class, then you should be able to learn from the better dancers, following along wherever you can. If you are an advanced student taking a beginner or intermediate level class, you should be able to work on placement and alignment and doing things properly.

But what happens when a professional walks into your class? On Friday night, I had the pleasurable surprise of dancer Colby Parsons from ABT taking my class. I don't know Colby personally and he was new to the studio so I think he was simply in town and looking for a class. As Melissa tells me, even pros need class. Colby was humble and kind with my students and above all, respectful of me as a teacher. When he wanted to add to a combination, he asked my permission first. He was very self-effacing when most of us told him how wonderful he was. He displayed no ego to any of us. He didn't leave early or do his own thing in a corner - and he even laughed when he made a mistake with a combination.

His professional demeanor and courteous behavior was a beacon of light shining on my students. They saw how a pro acts - and dances. And it made them step up their game. Every single one of my students had a better class because of his presence. They simply worked harder and smarter.

It was a wonderful class. I wish Colby the best of luck with his career and I'm very thankful he decided to take class with us while he was in town.

Ballet Class Etiquette

Everyone knows the basics of classroom etiquette. They go back to our kindergarten days: arrive on time, no talking, no chewing gum, no food, etc. Some studios ask students to turn their cell phones off. Some require that you remove hard-soled shoes, that you bring only water with you to the studio, that you leave your coats and bags in a dressing area, and so on.

But what about the unwritten rules? You know, the ones everyone else seems to know but you. Why is everyone lined up there? Why is she in front? What hand do we start with on the barre? Heaven help you if you break these rules: you'll bring the wrath of Anna Pavlova's ghost upon you! It can be intimidating to a new student and is often a reason why some people don't go to class. So here are a few do's and don'ts to help you before (and after) you go to ballet class:

A ballet class is structured in 3 general parts: barre, centre, and allegro.

The barre's exercises alternate so that you will perform one side with the left hand on the barre, then turn around and do the same exercise on the other side.

In the centre, we do adagio, turns and petit allegro. Most of these exercises are done in groups. Usually the teacher will decide how many students will go in each group - often, half and half for adagio and smaller groups for turns and allegro. When you are not in a group, step aside and watch until it's your turn.

For grand allegro and other locomotive steps like pique turns, etc. we usually conduct exercises in specific groups of 3 or 4 and we begin from the upstage left side of the room (the mirror is downstage) and travel on a diagonal downstage to exit stage right. The exercise is repeated group by group perhaps 2 or 3 times and then everyone moves to the upstage right side of the room to go downstage left.

And now some specifics--

DO find a spot at the barre behind a student who obviously knows what she's doing. Even better, get one between 2 good students; that way, when you turn around, you will have another person to follow.

DO line yourself up with your left hand on the barre. Traditionally, each exercise in class leads with the left hand on the barre, using the right arm for port de bars and the right leg working. Very rarely you will be in a class that begins with the right arm on the barre.

DO turn in to the barre if the class is crowded. This means angle your body slightly toward the barre if there are a lot of people in your class.

DO alternate hands on the barre. For classes with free-standing barres in which students line up on both sides of the barre, please situate yourself like so: first person at the barre usually stands in the center of it. Second person is on the other side to the person #1's right or left. Third person usually stands on the side of person #2 with their hand on the other side of person #1. A fourth person on the barre stands on person #1's side behind person #1, alternating with person #3. It looks like this:

This photo shows 5 girls at the barre but what's important is how they arrange themselves.

DO continue to stretch while the teacher talks. Never stand/talk/lean/daydream while the teacher demonstrates an exercise. Mark it along with her using your hands or feet and if there is a break while she talks to the accompanist or figures it out for herself, just stretch: legs, arms, etc.

DO watch for corrections that are given to other students. Even if the correction does not specifically apply to you, pay attention. You may be able to use it for yourself elsewhere. Plus it's rude not to.

DON'T interrupt the teacher by shouting at her. Just as we learned back in kindergarten, a slightly raised hand to call attention to yourself will likely get you a better response. And please, please refrain from saying things like, "Wait, wait! I don't get it." Most teachers react very badly to this sort of comment.

DON'T talk to the accompanist during class except during the brief break between barre and centre. She might be having fun but she's working and trying to pay attention to the teacher.

DO stand behind the teacher when she is demonstrating in the centre. If you stand in front of her or directly to the side, it will be harder to see the exercise.

DO stand behind better students in the classroom. Unless the teacher specifically places you (and some do!) opt for a spot behind someone who clearly knows what she's doing. But---

DON'T stand directly behind anyone ever in the centre. It's distracting when you're looking into the mirror to see a random arm or leg poking out from behind your reflection. Likewise, if you're in the front of the class, please DON'T take a spot directly in front of the person behind you. You need to separate yourselves both on the floor and in the mirror.

DO pay attention to the music and the intros. Not all intros are 8 counts. Some are 4. Some are 2. Sometimes there is no intro at all and the second group directly follows the first. Always be prepared to go.

DO mark the exercise on the side of the room. Rule of thumb: if there is a marley floor atop a wooden floor, do not stand on the marley unless you are dancing. Think of it as a stage.

DO be aware of students exiting the centre, especially if you are the next group to go. Always take note of where people are leaving - stage right, stage left. When YOU are leaving the space, ALWAYS go downstage toward the mirror and then off to the right or left to allow for the next group to come in and follow you.

NEVER simply stop dancing in the middle of an exercise. If you suddenly forget or get flustered, carefully exit - downstage and then off to the side. It's very difficult to go around someone who has stopped dead. And it can be dangerous!

Whew! That's a lot of information, isn't it? Don't worry - it's not that overwhelming. And Anna Pavlova really won't curse you if you don't remember them all.

Added 6/25...one more thing:

EVERY class usually ends with a reverence, which is a short port de bras or battement or other combination which ends with a bow to the accompanist and to the teacher, after which everyone applauds. You are not expected to know the combination but simply follow along with the teacher who will do it in front of the class with you. Traditionally, we thank the accompanist for playing for us and we also thank the teacher for sharing her knowledge with us. It's a respectful and formal way to end the class. Very old-fashioned but I like it.