Anjuli_Bai

...and the dermatologist says stay out of the sun.....

....and check your leading shoulder - are you throwing it open. It also sounds like instead of going straight up you are sending your energy in the direction of the turn. You need to go straight up and use the head foor the impetus/energy. You may also want to check this which appeared on this board: http://www.balletcoforum.com/index.php?/topic/5790-pirouettes-delving-into-the-mechanics-and-mystery/

As a safety measure if you suffer from any of the balance condition take some precautions in your living/work space. There are simple to install hand holds in bathtub or shower. You can also install (easily done) a hand hold as you use a towel to dry off - which means bendiing over. Don't hold on to the towel rack for support, it was not meant to take your weight. None of these "holds" requires drilling holes. Put something by your bedside that you can use to steady that first stand=up of the day or at night if you rise to go to the bathroom. When you plan to stand up - sit for a few moments first and then stand still for a few moments before you begin walking. Never bend over without holding on to something. Check to see that all rugs and mats are anchored by non-slip rubber pads underneath. When you walk keep your hands free - not in a pocket. That way they can help to break a fall. Always hold on to a hand rail especially on stairs.

Women who spend many years dancing and/or other vigorous physical activity may find that the metabulism has changed especially when it comes to hormonal changes later in life. Since - especially later in life - the body stores estrogen in fat, generally speaking, women who have been slender all their lives may find the body is lacking in estrogen, doesn't store it well and this produces - or exacerbates - all sorts of problems.

I would never advise anyone, nor allow my students, nor use myself - any device to stretch the foot - ever. The best - and safest - method to both articulate the foot and strengthen it is by correctly executing tendu. Not only in the exercises specific for tendu during barre work - but through the entirety of barre and center work. Every time the foot moves - in every exercise - there is an opportunity to articulate it through tendu. Balanchine considered tendu the most important exercise the dancer does - and I agree. There has appeared previously on this board in another thread an article on tendu - and if there is interest - I will repost it. The foot is a fairly fragile piece of equipment meant to carry the weight of the body, allow it to move, for a long lifetime. But the bones, tendons, ligaments, are small and delicate. Anything that is meant to both carry weight and move - is a compromise between strength (to carry weight) and flexibility (ability to move) and needs to be treated with respect. After all that dancing is done, you will want to be able to walk for many years remaining in your life. Treat your feet with the respect they deserve. It can, yes. A very strong foot can break down the shank of the shoe - but it also depends upon how strong the shank was in the first place. Also a weak foot which needs a strong shank will find that when the shank loses just a small amount of strength, the shoe is no longer strong enough to support that weak foot.

in answer to the question regarding construction of the foot - here is an article which has appeared in an earlier thread. The more direct response to your question appears about halfway down. However, I've reposted the entire article in case someone is interested in it: POINTE – ASSESSING READINESS Assuming that the ballet student has reached at least the age of twelve years, has sufficient skeletal maturity, mental focus and the desire, the following are some of the criteria I try to apply in assessing the readiness of the student for pointe work. How is the weight placed? It is important not only for the weight to be placed correctly but the student needs to understand some of the principles behind correct alignment. I look to see if the student is standing with optimum stability within the confines of individual conformation. The body should be balanced forward, heels in contact with the floor, but the weight mostly on the balls of the feet. The weight should also be evenly divided between the two feet. The stance is also supported and balanced, for most part, by the first three large toes of the foot. In assessing balance, I look for the ease with which the student has learned to align the body for proper balance – how innate has it become? When the student rises to demi-pointe there should be little rocking forward. The body comes forward in one piece. The balance is easily attained. The communication “to balance” comes from the mind – not “when the body is ready”. It is mind directed. This is a very important concept. The student should also be well able to control the descent from demi-pointe, with no rocking backward onto the heels. This should be assessed not only in static positions, like a simple releve’, but also in moving positions, as in coming down from a pirouette. The student should come down from that pirouette still very much in control of the balance and weight and ready to go on toward the next step. The ending for one being the beginning for the next. Additionally, it is necessary, in my opinion, to assess the conformation of the foot, ankle, knees and legs. The amount of either bowl or hyper construction of the knee will very much affect how the student is able to rise to and dance on pointe. Extremes of either could be very detrimental and might put the knee at risk. Ankle either pronating or sickling could be another cause for caution before proceeding. Past injuries should be taken into account. Elongation of the second large toe is considered by many to be untenable for pointe work, although I have found this not always to be the case. And, finally the shape of the foot itself. I would hesitate to place any young student on pointe who already has a bunion. The weight of the body was not meant to be borne on the ends of the toes, therefore many stresses will be created by being on pointe and a bunion can result from these stresses. So, if I saw a student with this formation before pointe work even begins I would really hesitate to initiate pointe work for this person. There are basically three kinds of feet. One type is a tight, strong construction that has almost no arch at all. This is not aesthetically pleasing, and for the ballet that is a consideration. But in addition to that it can inhibit the possibility of the student from fully achieving the ability to attain full weight placement on the platform of the pointe shoe. This will throw the weight back and stress will be added to other parts of the body to compensate. It will be very difficult for the student to work with a straight knee and therefore not only will the knee be stressed but also much of the vocabulary of the ballet will be impossible to accomplish. In order to be fully up on pointe a “bend” has to occur somewhere and if the flexibility of the foot does not allow it – then the bend will occur in the knee or the spine, which is unacceptable. The student must be able to be fully on pointe with the entire platform of the shoe in contact with the floor, the knees straight and the weight forward. The second type of foot has a more flexible instep that proceeds from the high part of the forefoot – almost from the ankle. This allows the dancer to be fully up on the platform of the shoe, does not stress the knee, allows the body’s weight to be forward over the platform of the pointe shoe, and is aesthetically pleasing. While it is not as strong as the tight construction, it is strong enough to support pointe work. The third type of foot is extremely flexible. Here the instep is much lower down on the forefoot. When this person is on demi-pointe the foot is out over the toes. This type of foot is a weak construct, and literally spills over and even out of the shoe. It is a beautiful foot, but very difficult, sometimes even impossible, to work with. I knew someone with this kind of foot, and she found pointe work impossible, even sewing up the vamps of her pointe shoe, she literally spilled out of the shoe. She found pirouettes extremely difficult even on demi-pointe. The weight was thrown too far forward and there was a lack of strength in the foot for any real control. Most of us are somewhere in between on the scale of these three types of feet. It is up to the teacher to assess the feet of the student and suggest the appropriate shoe for the student’s level and physical needs. It may take a while before a suitable shoe is found. This fit should be continuously re-assessed as it often happens that the dancer’s feet will change with time and use. I hope this article helps.

And keep nails trimmed - not too short or too long. Best done after a warm bath when nails are a bit soft. And - good supportive street shoes, too!!

If the student studies under the guidance of a knowledgeable teacher, and... If the shoes are fit correctly, and.... If the work is done carefully, and... If the foot is well constructed for pointe work, and.... this all depends upon the expertise and care of the teacher, then..... generally speaking, there should be no expectation of long term injury. As for how the foot ends up looking - asthetically - when barefoot - that is another matter entirely. But, then, there are many people with less than beautiful feet as the years go by who have never danced. As for "informed consent" - how many of us are truely informed about most of the stuff we do - most of which carries some degree of potential harm. An example: someone who studies to play a brass instrument can end up deaf or a violin student with severe tendonitis. There's a risk to everything.

My experience is that cortisone therapy is problematic for the many reasons stated above. The first priority is the thorough healing of the injury and if surgery is indicated - so be it. Unless healing - true healing is the first priority - all else is null and void, if not immediately, then eventually. An injured foot/ankle cannot be asked to take on the heavy load of dance - especially since dancet often uses the foot in ways in which it was not meant to be used - such as pointe work, turnout, jumping and rotating. Thus, it is extremely important that one start from a solid base with a healthy happy foot. The bottom line is that the body will win - it requires healing - and if that bottom line is not served - the consequences are not only pain but the condition becomes chronic. One cannot argue with the body's requirements. I wish your daughter every success and a swift and complete recovery.

I can see where pointe work would be of benefit to an actress. The stance is different and would add another layer of possibilities of exploration of a character - or a dance even when not actually done on pointe.

Very charming - and interesting! Thanks for posting!

I would say that if you are going to use pointe for more contemporary dance - then sufficient strength would be the issue and your teacher would be able to check for that. However, if you are going to use pointe work for ballet - then I think you need more than one ballet class per week.

Everything about dance - schooling - the people - the needed changes of school/teacher - friends - is emotional. The people involved are emotional (half the reason why they do what they do). Would changing maths teacher be as emotional? That is most unfair to punish your child because of a prospective change of teacher after the performances - that's just vindictive since you weren't going to leave until after the obligations had been fulfilled.. She doesn't seem to have your child's best interests at heart. I would say her hand has been revealed - if I'm reading this correctly.

Does it have to be an established variation or can she make up her own? I've used the music of "Memories" from "Cats" very effectively - it has both flow and depth. I found a lot of emotion in the music. Here is the White Cat Dance: - or make up your own choreography....

How less well known do you have in mind?

I hope you find this of some help - it has appeared before on another thread on this topic - Remember each leg is different - they are not the same.....just like your hands are different. One way that I have found worked really well for me - I am rather more tight than flexible - is either at the end of barre work or after class entirely: Stand with one hand on the barre developpé your leg onto the barre to the front. Make sure your leg is definitely aligned correctly, hips/shoulders and leg squarely in the front where it should be. Now, lift the leg off the barre as much as you can, even an inch or two will do. Then after a count or two lower your leg back down to the barre. Repeat several times and then repeat with the leg in second position. I found this extremely efficacious. Even though I am retired, I still do this regularly and my extensions are still shoulder high. But they originally were barely hip high. It must be done religiously. Progress will not be speedy but it will occur. Another thing: Do your developpés (front/side/back) in fondu, then when fully extended, straighten your supporting leg. Usually we are able to develop the leg a bit higher when in fondu and so taking advantage of that, try to keep the leg at that height as you straighten the supporting leg. Another thing: Rise onto either demi-pointe or full pointe, standing at the barre and do your developpés, after fully extended slowly come down to a flat foot. Since this was done on a demi or full foot the extension was a bit higher, and now as you descend try to keep that extra bit of extension. Another thing: When you do grand battements don't allow the leg to drop back down, - lower it with control. This will take advantage of the stretch through the back of the leg on the way up and build strength to keep it there. Brush up quickly with a strong push off through the toe, then retard the descent as much as possible. Another thing: This is a visualization - and visualizations can be important. As you develop your leg picture a hand lifting the thigh from underneath and another hand pulling up your foot right where your shoe ribbons cross on top of your foot. Another thing: When you start your extension lift the knee as high as you can, and then develop the rest of the leg from there. Another thing: If you can do the stretch where you take your heel in your hand and extend to second position, try to slowly let go of your foot and maintain it in the air. If you can't do it holding onto your heel, then hold onto your ankle or calf. A good stretch/strengthener for arabesque: Stand at the barre in fifth position, sideways, with one hand on the barre. Tendu your outside foot to the back. Now, do your very best back bend, remembering to obey all the rules of alignment and with ABSOLUTELY no weight on your back tendu foot. Now at the depth of your backbend, lock into that back leg with your back muscles, come up bringing your tendu back leg with you into arabesque. Don't come up one inch without bringing your arabesque leg with you. Keep it coming up, up, up, and then go into penché without unlocking that arabesque leg from your back. When you've hit the extent of your penché, come back up to arabesque - leg still locked in your back. None of these things will work over night - but with dedication and work - they will help.

You are probably using your hip to lift your leg - let your knee lift your leg. Do the lift to the front and then rond de jambe to second but only as far to second as the hip stays down - don't go any further. Very few of us are able to get a perfect second. You have to find out where your best second is and work from there. Try it low first - and then gradually work up to your best technical height.

A dancer spends a lifetime learning how to breathe - and choosing a teacher. That's not something a 7 yr old should already have accomplished. Only rare beings like Mozart know at age 7 the lifepath for which they have both ability as well as inclination. At 7 the child should be enjoying her classes but at the same time being taught by a teacher who "does no harm." Anything other than positive teaching is definitiely out - especially a "scary" teacher. Being scared isn't positive. (Why oh why do so many ballet teachers cultivate this persona? Maybe....it's all they have to offer.)

It used to be - don't know if it still is - that the numbers stamped inside the pointe shoes identified the cobbler. I always wore Capezio and always looked for the cobbler who's product seemed to suit me best.

Teaching and dancing have much in common. If one is born to dance or teach, one will find a way. Perhaps not in a conventional setting - but in some setting. Either as a vocation or an advocation. If the environment of the usual path is less than wholesome - there are other paths and other environments.

I have never heardf either of those terms used in the USA. We would probably say "not renewed" or "not invited back," or "will not be continuing" or something to that effect. As for clothes: probably something like this: "there is no room to change clothes, so come dressed to dance." It would be assumed the student would think to wear something over the dance clothes. The terms I find both amusing and confusing (or in need of explanation to the uninitiated) are: A teacher gives a class A student takes a class A choreographer takes a rehearsal A dancer had a rehearsal (Where were you? I had a rehearsal.) or was in rehearsal. When I was both dancing and teaching, my non-dance friends had difficulty understanding the difference when I said: "I took a class at 10 this morning, then I gave two classes and took a rehearsal at 5p.m. and was in rehearsal at 7 p.m."

This assumes the choreographer's wishes are known and not just a temper response of the moment.. In the case of music, the composer indicates his/her tempo on the score and that should not be violated. But it often is - quite grieviously. I just heard a jazzed up rendition of Orff's Carmina Buranna that had me running across the room to shut it off. I don't know if Orff's work is still protected or not. To alter the tempo of the music (which does not always make it eaier to dance) is a violation. That being said, every conductor has an individual understanding of what the composer's tempo instruction means. We all operate through a personal filter. I think that if it is known that a choreographer truly did not want his/her product performed - that should be respected. Not everything that is produced even by a genius is a success and we should all be allowed to put away work which did not turn out as it was originally envisioned by its creator. That being said....there was a day when I looked at one of my paintings and decided it was a hopeless failure - so I rolled up the canvas and put it out in the trash can (dust bin) to be collected by the city trash truck. I happened to see someone walking by who saw the canvas, picked it up, unrolled it, smiled at it and walked off with it. I was of two minds about this - first it is illegal to pick something out of a trash can - but, on the other hand, I was rather pleased that what I considered a failure brought a smile to someone's face. It also taught me a lesson: that which I consider a failure today might please me on another day. Did Michaelangelo or DaVinci have any work they considered failures? Even those failures would probably be considered treasures today. Sometimes we scrape away at a painting of one artist to reveal a more renowned artist's work beneath. Did he/she allow it to be overpainted because he/she considered it a failure and didn't want the world to see it? The problem with the performing arts is that they must be re-created each time they are seen. Almost by definition that means change of some kind to some degree. Otherwise it becomes a museum piece and one might just as well show a film of the production (if one exists) rather than attempt slavish exactitude. It is also asking the dancer (who is also an artist) to completely sublimate self to service - which isn't going to happen.

It was - and still is - not unusual for a choreographer to have a specific dancer in mind when composing a dance. Thus, when any other dancer undertakes the part it will look different to whatever degree. Seems like the effort of entities such as the Balanchine Trust to keep change at bay is an impossibility. It does, however, keep the intellectual property fees intact. I am not implying this is a nefarious object - intellectual property is property and should only be used with the consent of the owners.

The stage is not the only place a young dancer may or may not be noticed. Classwork is often observed as well as attitude.

Fokine also was known to change his choreography. I have read some critics who think the black and white look is dated.