Showing posts with label pointe. Show all posts
Showing posts with label pointe. Show all posts

Thursday, December 24, 2020

Shoulders forward & the importance of incidental activity

As we close out the year (good riddance, 2020!), I want to offer a final technique tip and an observation.

First the tip:

Keep your shoulders in front of your hips during pirouettes, penchees, promenades, jumps, and generally speaking, during pointe work.

What do I mean?

Grab a mirror and observe your alignment in profile when you stand up straight. Where are your shoulders in relation to your hips: behind your hips, centered over them, or in front of them? Most likely they are centered over them. If you have a tendency to slouch, your shoulders may be behind your hips.

When we rise onto demi-pointe or pointe, we often pull our shoulders back or allow them to droop; this includes turns and pushing off the floor for jumps. 

Now, still in profile, lift your ribcage up out of your waist and gently move your torso forward. Note that your hips are still over your heels and your pelvis is in a neutral position, nothing is tucked or gripped. This is where you want to be when you prepare for a pirouette or take an arabesque into a penchee or even when you push up off the ground for a jump.

What do I not mean?

Don't roll your shoulders or hike them up to your ears. Also, try not to hyperextend your lower back and avoid splaying the ribs.

(This image was made by Loadmaster (David R. Tribble) CC BY-SA 3.0 via Wikimedia Commons)

Please note the dancer's shoulder placement in the arabesque to the left.


(Ron Kroon / Anefo, CC0, via Wikimedia Commons)

Please note the placement of the shoulders in this grand jete to the right.

What will this do for you?

For one thing, it helps stabilize you, balancing your natural tendency to fall back as you go up. And for another it will help you engage your back muscles and keep you lifted and not sinking.


And now...an observation about the influence of the pandemic on our bodies (as if we didn't need to know about yet another negative effect!):

When incidental activity is diminished, our baseline of movement is affected. 

What do I mean by "incidental activity?" 

That's the walking from our cars to the grocery store, the running into the bank to deposit a check, the filling up of our gas tanks, the casual jostle walking among crowds at an event or in a school or a theater or on public transportation...all these things contribute to the baseline of our movement including balance. 

Remember before the pandemic when you used to walk around with a purse or shoulder bag or backpack? You would have to balance that on your shoulder and move it with you when you moved, from side to side or up and down. That's movement. That's balance. That's activity. When you're not doing that as frequently, you have far fewer chances to practice.

In your homes, it's a quick walk to the restroom or to get some water but at the dance studio, maybe it was down the hall. That's extra movement, extra walking you did.

In our Zoom environments, we sit to talk to people because if we stand, we are at waist level with our cameras; if we move around, our microphones won't pick up our voices and our auto focus gets blurry. But these are all things we used to do when we talked to people in real life.

What is the result? And how does that affect dancing?

One thing we lose is muscle tone: all that sitting doesn't give our quads and calves and hamstrings opportunities to strengthen, nor does our core engage as frequently. When we don't walk as much, we lose our stamina and get out of breath more quickly. And when we don't have to adjust around people, we don't have chances to find our balance.

For our dancing, this means we must take extra steps in class. Even if you were taking the same number of classes as you were before, likely you are not working as hard or have the ability to do things like jumps or allegro. Our balance might not be as good because we aren't calling upon it as often. 

What can we do?

In class, we can take the time to work on balance OFF the barre when we need to engage our cores and stabilize ourselves. We can build calf and ankle strength through extra exercises. We can also do small jumps in sneakers if we don't have the correct flooring.

Outside of class, we can walk a little bit more (an extra turn around the block with the dog), maybe carry something with us so we build some upper body strength and work on balance. Hiking or carefully navigating uneven surfaces can also help us balance.


Saturday, May 2, 2020

May 2020 Newsletter



May 2020 schedule

Studio classes are currently suspended while the state is in lockdown until mid-May. You better believe I will shout from the rooftops to let you know when we're allowed back in! In the meantime, please join me every morning at 11AM PST for Your Daily Barre with Leigh, live via YouTube. Each morning I broadcast an hour-long barre+center free of charge. The video is posted on my channel for 24 hours so you can "take" it later if you miss it live. After a day, it becomes unlisted and the next day's video goes up in its place. Here is the schedule:
Sunday, Tuesday & Thursday - beginner level
Monday, Wednesday & Friday - intermediate level
Saturday - beg/int level with pointe/pre-pointe exercises
Donations, if you have the means, or use of your class cards is greatly appreciated.

If you would like access to ALL of the videos, you can pay a monthly subscription of $50. This will allow you to view every video from the current and previous months whenever you want! (e.g. pay for May and get May and April) Please subscribe or donate via my website.

Want more ballet?
Private or group lessons held via Zoom are a great way to get personal feedback and corrections. Contact me to schedule a special class just for you.


Even more ballet: POINTE AT HOME!
Weekly Pointe class is held on Zoom every Saturday at 12:15PM for one hour. Fee is $12. Each week we work on barre exercises and some center phrases, including adagio. Dancers should have a sturdy barre or barre-substitute, as well as a non-slick surface. Please contact me if you are interested!
 


Home studios across the miles!
One positive aspect of the lockdown is the opportunity to connect with dancers I haven't seen in a long time! Last week you saw a home studio photo of Jenny Holland who moved to Chicago. This week I'm happy to feature photos from Ingrid Jackel (below left) and Jennifer Shermer (below right).


Meet some new students!
Say hello to the home studios of three fabulous dancers: Cyla Fisk (below left), Vivian Garcia (below right), and Victoria Chalk (home studio at top of the page). Cyla and Vivian are both first-year members of Leigh Purtill Ballet Company and Victoria is in her first year of ballet.


 
 

Featured link!

This month I was grateful to meet Washington DC-based dance physical therapist, Dr. Danelle Dickson. I hosted her in a live chat via Zoom and some of the LPBC company members joined in to ask questions. Dr. Dee was candid in her comments and thoughtful in her advice. I wish she lived on the West Coast! She is also tremendously generous at this time, offering loads of free advice and addressing so many issues! Take a peek at the video of the chat and read more about her in my blog post.

More fun reads and links:
I've Been Home for a Month - Now What? is my rumination on what it's been like to teach from my living room. Next time I'll be writing about YOUR concerns from home so please share with me so I can address them!
Restez Chez Vous! Avec l'Opera de Paris is a fun look at the dancers of the Paris Opera Ballet in their homes and with their families. And you know I love this music!
 

LPBC News

The Company will not be performing in its typical fashion for the remainder of 2020 but will postpone its traditional theatrical performance of Sweet Sorrow, A Zombie Ballet until Fall 2021. Our planned fundraiser will also be postponed. Instead we will be exploring new and unusual ways to bring you our ballets and showcase our dancers. Could it be a video watch party with a live chat? Maybe! Could it be a virtual immersive event at a SPOOKY location? Maybe! If you know our company, you know we are a creative bunch and we're always looking for FABULOUS ideas to bring ballet to EVERYONE!

Speaking of everyone...we had our first virtual company class a couple of weeks ago and 33 of our beautiful dancers made it. Needless to say, I miss them all so much. Thanks to Avery for this photo which she took while she was sheltering-in-place in Florida!



 
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Monday, February 10, 2020

Spring into Spring with 2 Pointe variations workshops coming to Inspire!

Hello beautiful dancers!

I am adding something FUN to the schedule which requires a sign-up before the end of February:

Pointe variations workshops!

The Bluebird workshop will be held at Inspire each Sunday, 12:30-1PM from Mar 1 through Mar 22; the cost for the 4-week session is $50.

Wondering what Bluebird is? It's from "Sleeping Beauty" with music by Tchaikovsky and choreography by Marius Petipa and it might look something like this:

 The Cupid workshop will be held at Inspire each Sunday, 12:30-1PM from Mar 29 through Apr 19; the cost for the 4-week session is $50.

Wondering what Cupid is? It's from "Don Quixote" with music by Minkus and choreography by Marius Petipa and it might look something like this:


(Attend both for $90 and save some $!)

Each week, I will break down a step or 2 that is challenging in each of the variations and we will learn the variation over the course of the 4-week session.

Please sign up in advance right here on my blog: use the drop-down menu at the top left of the blog under the banner to add the workshop or a class card to your cart.

Can't wait to start some fun SPRING variations! Happy dancing~

Wednesday, April 24, 2019

A million tendus

If you're an experienced dancer with years of classes behind you, you've likely done thousands of tendus, thousands more degages, and perhaps a million demi-plies. As a teacher I try to structure my combinations so you don't realize you're doing the same tendus you've seen a bajillion times but honestly, there are just so many ways to combine steps at the barre.

But there's a very good reason for this: muscle memory. Just as baseball players and golfers practice their swings over and over and over again, we dancers must practice the same steps over and over and over again until they are so much a part of our bodies that we don't think about them.

cc lic Paul L Dineen "Big Swing"
 If we had to think about every muscle and every bone that must move and coordinate in order to do a grand jete developpe, we would never get off the ground!

Take a look at this breakdown of a baseball player's swing - and he's not even propelling his body into the air!

Baseball Swing Anatomy

Today I want to talk about the tiniest little things that have a BIG impact on your turns, your jumps and your lines.

Your toes.
cc lic melalouise Sous Sous

Ten tiny parts of you that really sell you as a polished dancer, no matter how many years you have been taking class. Your toes do so many things!

--they keep you on the floor
--they push you off the floor
--they start your pirouette
--they finish your lines
--they form the platform upon which you balance
--they are the basis of your pointe work
--they shape your foot and guide your leg through the air no matter what you do

cc lic Quinn Dombrowski, A Leg Out of Nowhere
 And they MUST be STRETCHED. This is an absolute MUST.

Teachers always tell you to point your toes but instead, think STRETCH, not point. We don't want to grip our toes or feet - we want to lengthen them. With the stretch/lengthen imagery, we will spring ourselves up to retire for a turn; we will spring to glissade and brush every jete.

Without exception, your toes must be stretched to a fully extended position EVERY TIME they come off the floor (unless the choreography calls for a flexed or soft foot) and they remain stretched until the foot returns to the floor. From the very first exercises at the barre (typically a plie combination), think about the toes adhering to the floor; think about them when you balance flat or en releve. Think about them as you articulate the foot during slow tendus. The more you engage the toes, the more you articulate them, the more muscle memory you're gaining. Soon it will feel weird for you to not point your feet.

Happy dancing~

Wednesday, December 14, 2016

Nutcracker + Holiday classes + New class time!

Welcome to the holidays, beautiful dancers! 

It's that time of year when days and hours and weeks slip by and you wonder if you got anything accomplished at all. Currently my living room is in such a state of disarray that I can barely walk through it (and neither can the dog!) but I know it will eventually pull together and look like a Christmas tree.

So I know how it is when you have the best of intentions of getting to ballet class but then there's a work event or a friend is having cocktails or you need to get to the store to get those gifts for the in-laws. A week or two go by and you suddenly say, "Hey, I didn't get to ballet class!"

Don't feel bad! It happens to all of us. Remember that ballet class is something you do for yourself. It makes you feel better. It reminds you of what is beautiful. It gives you an hour and a half of peace, if nothing else. So if you can squeeze in a class, it might make the hustle and bustle of the season a little more tolerable.

And what better way to feel good than to take a special holiday-themed class? That's right! This year, you'll have 2 chances to take a fun ballet class with me:

Saturday, December 24, Christmas Eve morning:
9AM - Beginner Ballet
10AM- Intermediate Ballet
11:30AM - Pointe

Saturday, December 31, New Year's Eve morning:
9AM - Beginner Ballet
10AM- Intermediate Ballet
11:30AM - Pointe

All classes with special holiday music! All are at the Inspire Dance Studio in La Canada. If you don't know where that is, see the sidebar for address and directions. I hope you can make it!

New Class Time - starting in January!!

Next month, my Tuesday Advanced Beginner ballet class at Dance Arts Academy will begin at a new time:

7-8:30PM

Mark your calendars! I have heard from lots of students that the 6:30 start time was a real challenge to get to. LA traffic can be a nightmare and unpredictable. I hope this extra 30 minute buffer means you don't need to stress out about getting to class on time and you won't have to leave work early to get there.

Nutcracker Pics!!

This year my dancers performed with Classical Ballet Theater at the Norris Theater in Palos Verdes. It is a beautiful theater with a huge stage and great seating. We loved performing there and CBT's owner, Kotomi, was so kind and generous to invite us as their guest artists. We hope to be dancing with them again in the spring (mark your calendars for May 21!).

Here are a few photos from the show. Maybe you'll dance with us next time!














Tuesday, September 6, 2016

Leigh's Pointe Class Barre Exercises

NOTE: Do not attempt these exercises at home until you have performed them in class so you know the proper way to do them.

1. Ankle rolls to warm up the feet and ankles
Parallel - gently roll the R ankle in small circles, keeping the toes on the floor - 4 cts en dehors, 4 cts en dedans. Repeat with L foot. 2x on each side.
1st position - repeat above turned out, all the way up to the top of the hip, keeping toes on the floor and hip joint loose - 4 cts en dehors, 4 cts en dedans. Repeat with L foot. 2x on each side.

2. Tendu/flex
1st position - tendu devant with R foot, flex at ankle, rond to side en l'air, tendu close 1st. Repeat from side to back and back to side. Demi-plie and fully stretch. Repeat with L foot. Repeat starting from back.

3. Marches
Parallel - roll through feet (toe-through ball) 8 times, then step back to parallel lunge with R leg, flexing L ankle with heel on the floor, then return to parallel and push over the R arch. Repeat with L foot.
1st position - repeat above marches turned out. Cross the R leg back to a long 4th position lunge and then push over the arch in a wide second lunge. Repeat with L foot.

4. Coupe springs
1st position - spring R foot off floor as if in saute, without lifting top of thigh. 8x R, 8x L.
5th position - repeat in 5th - 8x devant no change, 8x changing. Repeat with L. Repeat en arriere R and L.

5. Eleves (straight knee releves)
Parallel - lift heels and roll up to full pointe in 8 cts, roll down in 8 cts. Roll up in 4 and down in 4 - repeat 2x. Roll up in 2 and down in 2 - repeat 4x. Roll up in 1 and down in 1 - repeat 8x.
1st position and 2nd position - repeat turned out and in shallow 2nd position.

6.Slow roll-ups
1st position - demi-plie 2 cts, roll to demi en pointe 2 cts, straighten knees to full pointe 2 cts, roll down with straight knees 2cts. Repeat 4x. Repeat in 2nd position 4x.

7. Releves
Parallel - demi-plie with heels into floor, press up to releve, 4 x, hold balance 4 cts, roll down 4cts. Repeat 4x. Repeat in 1st and 2nd positions.

8. Sousous breakdown
5th position - demi-plie, lift heels without fully forcing the arch or rising to full pointe, then using the toes, spring to a tight souous, both legs moving evenly to center. Hold sousous for 4cts and then evenly roll down to 5th position demi-plie. Repeat 4x. Repeat with L foot front 4x.

9. One-leg balance
Parallel - rise with straight knees to full pointe, lift R foot to parallel coupe, full down slowly on L foot to demi-plie, return R foot to parallel. Repeat with L foot. Repeat 4x.
1st position - repeat with turned out feet. Rise to full pointe, shift R foot to back of ankle and roll down on L foot. Repeat with L foot 4x. May also be repeated with foot at front of ankle.


Sunday, July 24, 2016

Saturday Pointe Class REBOOT!

A number of my students have requested pointe class again and I'm very excited to bring it back on Saturdays 11:30AM-12:30PM at Inspire Dance Studio in La Canada. Because I have a number of students who are new to pointe, I'm going to structure it like this:

First half-hour at barre - technique:
 - exercises for articulation of feet and toes
 - exercises to strengthen ankles and calves
 - balancing en pointe
 - glissades and sousous, pique sousous (eventually echappe and soutenu)
 
Second half-hour in center - technique:
 - walking, running, glissades
 - tendus and degages (eventually echappes)
 - port de bras with developpe
 - traveling steps: waltz, balance, etc.
 - bourree and soutenu, easy turns

Occasional center combinations - phrases from variations
 
Some of my pointe students' feet!
The majority of the barre exercises will be the same from week to week to maximize time and measure progress. Center will vary and will not always include the same elements.

For beginners, the class is structured so that shoes can be taken off after barre (or after walking/tendu practice) and the rest of the class can be completed flat while still working on technique applicable to pointe. As beginners progress, they can eventually perform exercises like bourree and waltz first at the barre and then in the center as they build strength.

More experienced dancers can perform the entire class en pointe.

The class will begin on Saturday August 6. As with my other technique classes, pointe will be drop-in; you won't need to sign up in advance nor are you required to take it every week. For those dancers completely new to pointe, I ask that you not purchase shoes yet but take a class (or 3!) flat until we are confident you have the strength in your core and ankles to hold you properly. When you are, this article about fitting pointe shoes from physiotherapist Lisa Howell is an excellent resource. 
 
If you have any questions, please ask! Happy dancing~

Wednesday, May 25, 2016

New workshops for June & July!

For my beautiful dancers in the Los Angeles, Pasadena and La Canada Flintridge areas (and for dancers who want to travel here or are visiting!) -

NEW WORKSHOPS!

Currently workshops will ONLY be held at Vonder Haar Center in La Canada on Saturdays from 11:30AM-12:30PM. The cost is $17/workshop and you can sign up for as many as you like in advance at my website.

Please note: All workshops are suitable for all levels of dancers and you do not need to be en pointe in order to participate in pointe, variations or partnering.
  • June 4 - Contemporary ballet
  • June 11 - Pointe
  • June 18 - Stretch
  • June 25 - Partnering
  • July 2 - Contemporary ballet
  • July 9 - Inside pirouette and pique turns
  • July 16 - Pointe/variation
  • July 23 - Partnering
  • July 30 - Stretch
 And don't forget the final May workshop: Big jumps! Chainee coupe jete and chassee en tournant! Sign up at my website for that one too.

Quick glance info for the TLDR crowd:
Workshops
Vonder Haar Center for the Performing Arts, 437 Foothill Blvd, La Canada 91011
Saturdays, 11:30AM-12:30PM
$17/each

Happy dancing~


Monday, February 1, 2016

Important info for my students

1. I've added the March workshops at Vonder Haar to my website, so you can sign up for them in advance. They are:

3/5 contemporary ballet
3/12 pique and lame duck turns
3/19 pointe/variation
3/26 pas de chat & grand assemble

All Saturday workshops are at Vonder Haar in La Canada from 11:30AM-12:30PM and are limited to 12 students with a minimum of 4. The cost is $17. You can sign up in advance for all of my workshops being offered at both Dance Arts Academy and at Vonder Haar Center at my website here.

2. As of March 1st, the price of a technique class will be $16. A 5-class card will be $75 and a 10-class card will be $140. Note: my class cards do not expire so if you'd like, you can purchase a card at the current price even if you do not need it yet.

  Happy dancing~

Wednesday, August 26, 2015

Improving your arch - actively!

100% True story: when I was in college, a fellow dancer who wanted a better arch used to place weights on the tops of her feet at night while she was studying and let them pull her toes forward and down to the floor, stretching the muscles and ligaments in the hopes of creating a more pronounced lateral arch (i.e. the side view of the foot in which the top rises like a mountain, what people in the ballet world call "a good foot").

We scoffed at her. How on earth could that passive stretch do anything to her arch, which was primarily due to bone structure? If anything, allowing weight to pull your foot would simply result in overstretched ligaments which - PAY ATTENTION HERE - do not snap back once they are overstretched.

Let me say that again: Overstretched ligaments do not return from whence they came. Unlike muscles, they do not have the same amount of give. DO NOT passively stretch your foot like this - e.g. using an arch stretcher. DO NOT. Bad dancer, bad, bad dancer.

It worked. I can't recall how long it took her but one day we noticed, "Hey, she's got good feet." She never had them before. At the time we all attributed the change to her nightly regimen. Fortunately we were all smart enough not to attempt to replicate her success. Today she probably has really weak ankles and wobbles in her releve.

HOWEVER - thinking back on it now, and with my years of experience as a teacher, I doubt the veracity of this. Instead I think she probably just learned how to get up on her releve and to use the floor and point her feet properly.

Some people have naturally beautiful arches and that's great. Some don't and that's great too. How feet work is far more important (as an adult or recreational dancer) than how they look. As a teacher, I show people how to get the most from their feet, how to work the floor and pull up, how to keep the bones in line and use the right muscles to lift, and so on.

But there's nothing wrong with wanting to improve your arch. And in doing so, increase your strength and range of motion.

In this post on her blog, The Healthy Dancer, Diana Harris writes about the best exercises for dancers to increase their arch. I think they are all terrific suggestions and I highly recommend students who want to improve their arches take a look for themselves and try to incorporate one or two on a regular basis. Thank you, Diana, for letting me include your post! (You can also click the caption below the photo to get to the article)

From The Healthy Dancer, "Exercises to Improve the Arch of Your Foot"
Happy dancing~

Monday, March 23, 2015

Do you speak ballet?

Recently I was teaching a pointe class to my adults and I watched how most of their ballet knowledge flew out the window as soon as they put their pointe shoes on. They "climbed" up to their pique; they forgot how to do a proper glissade.

Why?

Because they were not thinking in ballet.

Yes, the vocabulary of ballet is primarily written and spoken in French and Italian but beyond that, there is a language to it that is not just words but also visual images and physical movement. This is why we do the same exercises every single class. We do our barre the same way every week so that we drill into our brains what a tendu is, what a fondu means, how to connect our head and arms with our feet, and so on.

And just as it's much easier to learn and speak Spanish or German if we immerse ourselves in it, the same is true of ballet. Constantly translating English into Spanish is hard and prevents us from truly learning the language.


This brings me to an important point about pointe. "Am I ready for pointe?" students ask me. Well, are you fluent in ballet? Are you still translating what croise means? Are you still trying to recall what en croix refers to? Then no, you are not ready. You need to think in ballet so that when it comes to pointe work, you are not constantly translating. You know what pique means and you would never in a million years climb up to it with a bent knee. It's one thing if you don't know how to keep your knee straight when you are in pointe shoes but if you don't know that you have to keep it straight, you will have that much more to translate.

Happy dancing~

Monday, August 25, 2014

First year pointe student asks...

A Pointe in the Right Direction Designed by Meshea Cook
  
...how can I strengthen my ankles for pointe work? Are there any exercises I can do at home?

Answer: There sure are! And you don't even have to do them in your pointe shoes.

(And by the way, I caution all new pointe students when they are wearing their shoes at home. Be very, very careful! Until you know the proper way to rise up and come back down from pointe, don't! Get a few lessons under your belt first and then do a few eleves and releves at home, but nothing more or you run the risk of injury.

Okay, rant over.)

1. In bare feet or socks, stand in parallel at a barre, chair or counter and rise up and down (eleve) on both feet 16 times. Be sure to keep your toes flat on the floor and don't knuckle them.

2. Repeat the above on one leg, keeping the other leg in parallel coupe and not allowing the knee to swing in and turn in. 16x, repeat both sides.

3. Do both 1&2 in parallel with releve (demi-plie and press straight up, then lower back down to bent knees.) Again, 16x.

4. Do 1, 2, & 3 all turned out in 1st position.

5. Add a Theraband to your ankles, tying it loosely above the ankle bone, rise up on both legs in parallel and then while en releve, stretch one leg out against the band and back in (sort of like a parallel degage). Do this 16 times on each side. Repeat it in a turned out first position. If your calves hurt, you can do these flat.

6. Sitting on the floor, stretch your legs in parallel in front of you, wrap a towel or Theraband around the sole of your foot and lift it slightly off the ground. Point and flex your foot against the towel/band, increasing the resistance as you feel necessary. Try to keep your back straight so you also work your core. Repeat 16x with both feet.

These are some basic exercises you can do without your shoes. Once you feel more confident, you can repeat 1-4 with your pointe shoes on.

Happy dancing~



Monday, April 28, 2014

First year pointe student asks...#5

Why are my bourrees either too stiff or too bent? I can't find a happy medium!

Steps that appear to be so effortless when performed by professional dancers on stage often feel and look so clunky in the classroom.

Let's break it down:

1. A bourree must have an impetus somewhere in your body. In the simplest terms, though, it is either a pique with the front leg or a pique with the back leg. It can start flat or from sousous but one foot must move in a direction. And the way that foot moves is pique, i.e. a straight-kneed step up to pointe.

2. Next, the knees must bend. They are bent softly, though. It is not a demi-plie en pointe. The biggest obstacle to a pretty bourree is the knee position. You will need to experiment with how bent your knees are when you bourree. Go ahead and exaggerate the plie and see how quickly you can move. Try the opposite with very stiff knees.

3. The knees must stay together. Yes, they open a bit as you travel but they are typically kept tight together so they appear to be one leg moving swiftly across the floor. Remember: the goal of bourree is to appear to glide through the space, not run or drag.

4. The toes lift briefly off the ground, alternating from one foot to the other. The best way to get this feeling in your body is to stand facing the barre and alternate front coupe and back coupe without changing position, just up-down-up-down, first slowly then faster and faster until the foot does not lift fully to coupe but just off the floor. This will prevent you from dragging one foot behind the other when you are bourreeing across the floor.

5. Remember which foot is driving the bourree. It is the opposite leg of the direction in which you are moving. Say I am moving laterally to the right with my right leg croise; then my back leg, my left leg, is the driving force. Perhaps I am moving backwards or on a diagonal, then the leg in the front will drive. Again, this will prevent drag.

6. Keep your upper body still and move across the floor using your hips and upper legs. If you can think about your rib cage lifting up and out of your hips, you will travel more smoothly than if you have a stiff torso.

7. One final tip: do not grip your glutes! If you tighten your derriere muscles, your legs will be very stiff. Simple as that.

Happy dancing~

Monday, February 10, 2014

First Year Pointe Student Asks...#5

She asks: "Why are my toes numb in my shoes? Is this something I will simply have to get used to?"

Short Answer: "Your toes are not working.  And hopefully not."

The longer answer is, well, more involved. First identify why this could be the case for you.  The likely culprits:

1. You have too much padding around your toes. Gel pads, toe spacers, toe pads, and so on are great to give your feet a bit of cushion, especially if your skin is soft and you have no callouses built up. But the flip side of that is that you are not able to move them. Your toes should be straight up and down in the box of your pointe shoes but you should be able to roll up smoothly through demi-pointe using your toes, not merely lifting your heels.

If you can't wiggle your toes while you are standing en pointe at the barre, try less padding. You don't need resort to a wisp of lamb's wool and adhesive tape (like we did back in the old days!) but you do want to build up some tougher skin on the balls of your feet and knuckles.

2. You are skipping demi-pointe as you spring up to pointe. Whether you roll or spring up, you need to move through demi-pointe. When you don't do this, your toes become inactive.  Gotta work 'em!

Some exercises to practice:
--stand facing the barre in first position, start full pointe, then roll down to a 3/4 demi-pointe and back up to full without ever going to actual demi-pointe or flat. Alternate very slow roll-ups with quick ones to activate your toes and increase their flexibility.

--stand facing the barre in fifth position, rise to demi-pointe, hold for 2 counts and then spring up to sousous from the demi-pointe with and without demi-plie. This is a strengthening exercise for your toes and calves and will get you in touch with the muscles you need to activate to spring up to pointe, rather than only using your quads.

3. Your weight is on your heels and your knees are locked. When you shift your weight back on your heels, your toes become inactive and, again, numb.

Whenever you stand at the barre in pointe shoes, particularly with one hand, avoid the temptation to shift back on your heels to maintain your balance.  Instead, concentrate on keeping your weight centered over the arches and balls of your feet.  Lift your core (front and back muscles of your torso) and activate the tops of your legs, rotating outward from the center where your thighs meet.

Remember: when there is pain en pointe, there is a reason for it. Very rarely is pain something you simply need to get used to. Pointe is a lot of things - exhausting, challenging - but it should not be painful.

Monday, December 16, 2013

First Year Pointe Student asks...#4

"Why is it so hard to stand flat en pointe?"

First of all, when a student asks me this question, she usually means that, when she comes to center and has no barre to hold onto, she starts to wobble on her leg, especially when she shifts from two feet to one, as in a developpe.

To be sure, pointe shoes are not slippers. They are not as pliable, not as supple, not as form-fitting. They do not cover your feet the way flat slippers do. There is a thin strip of leather against the floor and thick cardboard under your foot. It only makes sense that it's harder to balance on one leg when you are wearing them. If they are broken in a bit, they are somewhat softer and a little easier to wear and stand in.

But the bigger issue has nothing to do with the actual shoes. I recommend tackling wobbly legs in the following ways:

1. Start with your core. Hold your abdominal muscles and your back muscles, pulling them up on both sides of your spine, front and back. Do not hold your breath but be sure to stay lifted, as if you have a partner holding your ribcage up and out of your pelvis.

2. Engage your upper back muscles. Always consider your port de bras, the carriage of your arms.  By feeding energy from your spine out to your shoulders, biceps, triceps, forearms and fingers, you will balance out the lower torso and feel more suspended.

3. Keep the pelvic bones tilted up. If your hip bones are the base of your tray of snacks, don't tip the snacks into someone's lap!

4. Engage both your quads and hamstrings. In much the same way as your core muscles are being used, pull up both sides of your femur, which will in turn keep your kneecap lifted and stable as well.

5. Lift your arches. There are 3 arches: medial (the inner arch and the biggest), the lateral (the outside of the foot) and the metatarsal (the top of the foot and what most people mean when they say you have "high" arches). When you are wearing pointe shoes, it's especially important to keep the medial arch lifted and the lateral arch pressed down against the floor in opposition. This will prevent pronation which is where the wobble ultimately comes from. You can strengthen this arch by using a Theraband or towel and pointing and flexing your foot against it. But always - always - concentrate on lifting your arches when you are at the barre so you can count on them being there for you in the center.

By starting from the top and working your way down to your feet, you can minimize that feeling of wobble and maximize your control when you are in the center. Happy dancing!

Monday, September 30, 2013

First Year Pointe Student asks...#3

"Why are my bourrees so clunky?"

Let's examine what a beautiful bourree does: it speeds the dancer across the stage as if she were light as a feather.  There is no stop-start, no lifting and dropping.  She stays at the same level as she flitters through space.

Multiple exposure of ballerina Alicia Alonso doing bourree, 1944, Life Magazine

New dancers en pointe often have awkward bourrees. They are uneven and, yes, clunky. Here are some simple ways to make yours smoother and more beautiful:

1. Remember the bourree is not a drag but a lift.  Each foot lifts off the floor, alternating back-front-back-front, etc. It is not the front leg pulling the back one. Practice this at the barre in place, standing in sousous and holding with two hands. Quickly lift the feet up and down in place and then practice moving along the barre.

2. The ankle must remain straight.  If you have a bend at the front of the ankle, you are articulating the wrong part of the foot. Again, practice lifting the toes in the shoes not tapping them.

3. Keep a micro-bend in your knees. If the knees are completely straight, they do not allow smoothness or speed. Neither are the knees completely bent as in fondu.

4. The back foot drives the bourree. A beginning pointe student is likely going to start her bourree from a sousous rather than a pique but in either case, be sure to initiate the movement from the leg that is in back.  This will keep the space between the knees small and tight and will avoid the urge to drag.

Final thoughts: Your goal with bourree is to keep the steps small and quick - better to have many small steps than several large ones.You can help yourself (as always) by staying lifted in your torso and lower back. This will (as always) allow more room to move underneath you.

Bonus link! Lisa Howell, of the The Ballet Blog and the creator of the Perfect Pointe system, addresses the issue of hyper flexible feet en pointe in this article.  Good stuff!

Happy dancing~

Tuesday, July 23, 2013

Schedule changes at Le Studio for my classes

Hello beautiful dancers in Pasadena and LA!

Beginning this week, there are a few changes upcoming for the classes I teach at Le Studio. In brief:

1 - Monday 5-6PM Teen Ballet is now an Intermediate Teen Ballet for 12-14 year olds.

2 - Wednesday 5:30-6:30PM Pointe 2 will be taught by Mackenzie Anderson.

3 - Friday 4:30-5:30PM Teen Ballet is canceled until further notice.

4 - Friday 5:30-6:30PM Stretch & Strengthen is canceled until further notice.

ALL other classes remain the same. If you have any questions, please send me an email: LeighBalletLA (at) gmail (dot) com.  My revised calendar is below. Happy dancing~

Monday, July 8, 2013

First year pointe student asks...

"Why do the front of my ankles hurt after I've been en pointe?"

Good question, FYPS (that would be First Year Pointe Student)!

Most likely answer #1: You are not lifting with your core and hips, but rather solely your feet.  When you don't utilize your entire body to get yourself onto the tops of your pointe shoes, you are asking a lot from your feet.  You are making them (and your ankles) do all the work which results in strain on the tops of your ankles.

Most likely answer #2: You are using your upper legs to lift and possibly your abdominal muscles but not the glutes (your derriere), your back and the small muscles underneath your derriere, your deep rotators.  This results in a pushing, rather than a lifting, especially if you are working facing the barre. You end up rising on top of your pointes and pushing your hips forward which, again, results in strain on the tops of your ankles.

Most likely answer #3: You are using your core and your upper legs and your deep rotators but you are not using your demi-plie to push the feet into the floor and roll up or spring up to the tops of your pointes. If your plie is too shallow, you end up trying to lift from the top of your feet instead of the bottom.

So, to avoid that pain, always use your plie, press your whole foot into the floor, engage your core and upper legs and rise en pointe with your whole body, not merely your feet.

Thursday, January 10, 2013

New Year - New Classes and Changes!

Hello beautiful dancers in the LA and Pasadena area!  I'm sending an email to everyone who takes my classes but in case I don't have your address, please see the important information below about changes to my class schedule:

At Dance Arts Academy:

--NEW! Adult Pointe, from 8-8:30PM on Tuesday evenings, directly following my Beg/Pre-Intermediate Ballet class, 6:30-8PM. Each 1/2 hr pointe class will be $10. (Please note the title change of the earlier class - this is to indicate it is more than a Beginning class but not quite a Beg/Int class).

At Le Studio:
--CHANGE! Beg/Int Ballet at 6:30PM on Monday and Wednesday evenings will now be 75 minutes long, rather than 60. More ballet for the same price, 6:30-7:45PM. The Basic Ballet class will still be 60 minutes in length and will go from 7:45-8:45 PM.
--DEAL! Stretch/Strengthen at 5:30PM on Fridays - 5 classes for $50! Special price applies to the stretch class only, not my ballet, but this is a savings of $6/class.

Happy dancing!

Wednesday, December 19, 2012

(Foot)notes

This tidbit in Pointe magazine caught my eye, so I thought I'd share:

Wish your pointe shoes were slightly less painful? Get more sleep! A recent study found that when people stayed in bed for at least 10 hours a night, by the fourth day they experienced a 25 percent decrease in pain sensitivity. Researchers think this happens because we have more pain receptors in our blood system when we're exhausted. How's that for an excuse to sleep in? (Pointe Magazine 12/18/12)

So get your rest and save your feet.

FYI...for all of my local dancers in Pasadena and Los Angeles...the following classes are canceled for the holidays:

--Christmas Eve classes at Le Studio
--Christmas Day classes at Dance Arts
--12/26 classes at Dance Arts (evening classes at Le Studio WILL be in session!)
--New Year's Eve classes at Le Studio (except for my 10AM $10 special class!!)
--New Year's Day classes at Dance Arts

ALL other classes ARE in session. If you have any questions, please check the calendar at the bottom of this page or send me an email.  Happy and healthy dancing to all!