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What's the best, most insightful, most useful, most inspiring, funniest, or bitchiest technique correction you've ever received? I say received so you can't hype your own gems of wisdom, of course. So: You will post your favourite correction. If you feel you can, credit the teacher, but it's OK if you leave the arms out for now. Here's one from Nicola Simpson, last week: (I ask for a correction on turns to my weaker side) Keep your weight forwards. Always forwards. Don't let your head go back. (I mumble with incoherent bafflement) This means you must keep your hands forward in your port de bras so you can track them through 5th without letting your head go back. That way your plié tracking will be better as well. Why it's great: it worked! Also it hits like three important issues at once. And it's very non-obvious. I asked about turns and here we are marking port...but it makes total sense, because a turn has a plié/relévé movement. And I also noticed that we'd been working on just those issues all week.

Been dancing for a couple years now, had partnering on and off (during summers), and now doing a pas de deux. The male teachers have had different ways of holding the females, but we have never gotten far enough to do lifts. Wondering what the "best" grip (for the males) for grand jetés and lifts above the head (up and down like before a shoulder sit)? Thanks!

Introducing the newly designed PBT Associates UK. PBT (Progressing Ballet Technique) is proven to increase strength and understanding of technique in classical ballet. This revolutionary programme coaches the core muscles meaning the student is left able to focus more on artistry and presentation. Classes are lead by Principal and Level 3, Elite Certified PBT Teacher, Ellie Wright*. PBT Associates UK offers: Senior Associates (year 8+) a 2 and a half hour fully integrated PBT and ballet class. Numbers are kept small in order for focus to be given to each individual student and increases in difficulty level given to the more advanced students. There is also the option for senior associates to join a once a week group zoom PBT lesson (Wednesday evening 4.30-5.30pm). Junior Associates (Year 5-7) a 2 hour and 15 mins fully integrated PBT and ballet class. This class format allows students to follow through the process from strength training to movements in order to increase understanding and technique. Class are second Sunday of every month held at the MAC, Birmingham. All details can be found in the ‘Services’ section of our Facebook page. Auditions for the programme for Entry in January 2023 are 11th December 2022, at the Mac, Birmingham 11.00-13.30. Application form for Audition: https://drive.google.com/file/d/1pqfjw-SJipTna6vDQ4q1_Z40E5hwX20c/view?usp=sharing https://www.facebook.com/PBTassociatesuk/services We’re also on Instagram: https://www.instagram.com/pbt_associates_uk/ *Ellie Wright PBT: https://www.facebook.com/EllieWrightPBT https://www.instagram.com/ellie_wright_pbt/

PBT Associates UK’s applications for our December auditions are OPEN! The programme focusses on the work of PBT (Progressing Ballet Technique), which is an amazing programme designed in Australia with proven results in greatly improving ballet technique. It runs with full support from Marie Walton-Mahon, founder and creator of PBT. Many regular students of the highly qualified and experienced PBT teacher, Ellie Wright, are at vocational schools and all get praised for their maintained and improved strength from holiday training. Last year I had 7 students successfully audition and go off to the leading ballet schools in the UK. The programme consists of a PBT lesson which is directly followed by a ballet lesson to put the improved technique learnt and strength into practice. Ballet lessons are taught by highly experienced and ex professional dancers from BRB Susan Lucas and Alicia Nelson. There are some open classes running presently, October and November dates still have spaces available. The auditions for the programme are in December for a January start. No PBT experience is required to attend the open classes or audition. The audition will be a ballet class. Early application is encouraged and places are limited to ensure quality training. Find us on Facebook and Instagram - PBT Associates UK, for more information. Follow this link for the audition application form: https://docs.google.com/forms/d/e/1FAIpQLSe_z18ELytyO1ocNahccZceR4ZpTOxYMHMKy_1CxC7B2Zwl0g/viewform?usp=sf_link Feel free to comment or message me if you have questions. Ellie

I have spaces in my online group coaching classes in September. These classes are formatted for 1. Dancers who desire a vocational training and are preparing to audition for schools. 2. Dancers who desire a vocational training but who are not yet interested in attending a full time vocational school. So one class fits all! If you would like to know more about these classes please email me sarah@sarahtoner.co.uk or DM me on Instagram sarahoner45 Happy Dancing and Have a lovely weekend! Love Sarah xx

Hi All, I'm studying Baroque historical dance but so much want to improve technique by finding local adult classical ballet lessons near Basigstoke, Hants.- but finding them for the few days in the week available is difficult. Which makes me sad because for the couple months I was able to train was really, really interesting and rewarding. Any tips to find what I need?

Hi! I want to share something really interesting with you: some famous Principal dancers give really informative tips. IANA SALENKO, LAUREN LOVETTE, SONIA RODRÍGUEZ, MAIA MAKHATELI AND MANY MORE. VANESSA ZAHORIAN – POINTE SHOES AND Q&A The Guide To The Pointe Shoes by Vanessa Zahorian Vanessa Zahorian, principal dancer from San Francisco, explains everything you need to know about ballet pointe shoes: choosing pointe shoes, ribbons and elastique, sewing ballet pointe shoes, using padding in pointe shoes and much more. Adiarys Almeida, Guest Principal Artist will share her tips on designing and sewing the tutu for the role of Sugar Plum. MAIA MAKHATELI – GRAND ALLEGRO AND Q&A LAUREN LOVETTE – PETIT ALLEGRO AND Q&A In a new livestream from Tips from a Ballet Star, Lauren Lovette answers the audience's questions and tells her tricks about petit allegro.

Hi All *** ONLY 4 PLACES LEFT *** We are again running our 3 day Christmas Ballet Intensive on the 28th/29th/30th December 2017. A MUST for all whom wish to keep in top physical, mental and technical shape for the important "Assessment" term, or for any ballet dancer wishing to go back to their school with an "edge" over the rest! We will focus your mind and your body, and send you back fighting fit and ready to take on 2018, prepared and ready! 3 full days of class with me, Nicola Moriarty, 2/3 nights accommodation, all food and drinks are included - £395.00 (12 places only) Being the festive period we will have lots of fun, and games. But.......... we will work hard and build confidence and focus on those areas of concern within your technique. I trained at RBS and danced professionally for 3 years around Europe. I have taught classical ballet to such a range of students over the last 20 years, I feel I know how to bring out the best in you! We will welcome you into the WDR family and once you in, you won't want to leave! *** ONLY 4 PLACES LEFT *** Please email me for more details nicola@woodsidedanceretreat.com and we can have a chat. Kind regards Nic x

So basically, I was in class and told my tendus were looking pretty good. I repeated the exercise using the left leg, and my teacher gasped in horror. For weeks now, I can feel my hip jerking and horribly misaligning but I have no idea how to solve it, and neither does my teacher. It is a recent thing, and it drives me mad! Could anybody please give me a helping hand?

Hi everyone, I've found that I have a real problem engaging the adductors in my working leg when doing tendus. I have no problem engaging them in my standing leg but I really struggle to do so in my working leg, especially in tendu à la seconde/to the side. I've tried standing in second position and slowly dragging my leg and foot back into first and fifth, I've tried doing tendus with my foot flexed and off the floor so I'm definitely using my leg muscles and not my foot to return to first and fifth but I still can't feel my adductors working. I have swaybacks/hyperextended knees so I try to bend/'straighten' them so they don't get in the way and I'm holding my turn out as much as possible when coming back into first and fifth position. Any tips? Thanks!

Myself and a colleague are running 3 days of 'back to school' dance training in CENTRAL Birmingham at a bargain price of £100 for 3 days! (Considering how much I normally charge these days this is a total steal!!!!!!!!!!) Seriously though - I will be teaching all day, every day on this course and will focus on placing and technique, strength, safe flexibility, injury prevention as well as teaching all of the tips I have learnt from people like Rebecca Davies, Tahlysia Smedley and Rosina Andrews to get you turning more easily, jumping higher and doing all those fun leaps and tricks SAFELY! (Includes classes in Progressing Ballet Technique) It is open to ANY dancer from age 8 upwards - and I can also accommodate private coaching time for anyone who is looking for help with something specific, or wants to learn some exercises to help with their dancing or prevent injury. To apply just complete a registration form on www.midas-dance.org.uk - no payment will be needed until the first day of the course. **** VENUE: Sir Doug Ellis Woodcock Sports Centre, Aston University B4 7ET - Walking distance from the stations*******

Can anyone share any tips on how to turn more than once in a pirouette. My teachers get me to be on a high releve with a snatch but I can't do more than one. If I do, then I can't close it properly back into position, I just fall out. Thank you for reading this and for any suggestions. ????

So you's are probably sick of hearing from me Anyway, at home my balance is great and I have vinyl flooring in the kitchen where I practice but in class where they have a Harlequin sprung floor my balance is awful. At home I can hold an arabesque for a good few minutes but in class just past there I could barely hold myself up right. I'm not sure if it's because I'm not used to the flooring or what, I'm certainly pulled up but I don't know what I'm doing wrong or what I can do to improve. Any suggestions?