Thecatsmother

Sometimes if you get pain on a regular basis it is worth seeing a Physio so you know what you are working with. It can be very useful to have an expert opinion on what is causing the pain, what you should/should not do to and what you can do to improve and prevent it becoming a chronic problem. It is often advisable to go earlier rather than later given that this reduces the likelihood of having to take time off dance if it continues to fester. There are some good dance physio's on the dance UK and BAPAM website so you can see if there are any in your area or an area where you travel to do class.

I always think it's funny in a restaurant when they ask if you want 'fresh' black pepper. They devil in me always wants to say "can I have the stale version please". The other thing which gets me is people in stores asking "how are you" when you know they have not the slightest interest. Sometimes I feel like giving them a lengthy answer documenting every aspect of my day to see how they respond.

A friend just messaged me and it took me back to a time when I was a student doing work with a company when one of the stage hands came into what was a tiny dressing room at Sadlers and placed dry ice in the sink. Somehow at the time it did not seem that much of a surprise but looking back I can see how much humour is a great tool to get through mundane aspects of a dance career.

Ok. Will post something tomorrow.

Yes. Maybe I will use the experience by writing something in a medical journal at some point. To be fair the problem seems to have been the transfer of digital images from hospital to clinic but communication re the process and delays would really have helped. I do think there is an uneasy patient/consultant relationship at times because ultimately there is a natural instinct not to want to pester the person who potentially is going to have sole control over surgery. I am aware this feeds into some of the dynamics thus maintaining the cycle. Having said that my experience of new consultant was positive upon first meeting and he took time to fully examine source of problem which I only wish the last surgeon had done a year ago when I went back to see him.

I think there is a lot to be said for mental preparation in terms of managing anxiety and coping with the stresses of auditions. Maybe I will post some more on this if it is useful. Ultimately the only goal can be to perform to best of ability in the audition as the rest is out of your control but I do think that managing expectations and coping with being around multiple other potential dancers is perhaps something which is not talked about enough. There are useful strategies to help manage performance anxiety. It can be good just to talk through any thoughts or beliefs that might emerge when placed in the stressful arena of auditions. It is an excellent skill for life in the theatre and one I wish I had known more about when I was dancing professionally. I guess for me the power of this kind of mindset is illustrated so well by watching the American gymnasts at work. Visualisation, challenging thoughts that induce anxiety and looking at the impact of comparing self to others are a few factors. Put simply, it can help so much if a dancer is able to harness an 'inner dialogue' which can be developed prior to auditions etc. it is almost like having your best friend in your head with you at the audition who is able to reassure and encourage. There are also some v practical strategies which help generally with reducing anxiety which have been scientifically researched in different populations. TBC if there is interest.

No call. Phoned them. The secretary I spoke to yesterday is now on leave until 21/11 and practice is closed for the whole day. On the plus side I have new found energy/frustration which I have directed at sanding my kitchen floor!

I am sitting waiting for surgeon to call as it's been 3 weeks since scans. Waiting for important phone calls is not much fun although it does force me to keep busy and have even resorted to doing the ironing.

Yes, I must try the balance after two glasses of champagne.

That brings me to another pet hate which is learning how to run across or around stage properly as this can be hard to get right in younger students who can tend to limp especially in pointe shoes. Sometimes the simplest of steps are the hardest to get right but I guess these in turn form the foundations of strong technique. There are an infinite number of different ways that runs and walks can be performed to be in keeping with the character, the music or even your mood in class.

Alina Cojocaru the movie is the title and it can be found on Vimeo.

http://vimeo.com/m/75231300 Second attempt.

This makes fascinating viewing and captures so much of what goes on behind the scenes. http://vimeo.com/m/75231300

Can I add courus or for that matter any movement that clearly shows the dancer is turning out from the feet but not holding the turnout correctly. When the knees are not aligned with the toes it is a sure sign that turnout muscles are not being activated and the strain on hips, knees and ankles can lead to injury. Getting young students to understand, activate the correct muscle groups and maintain turnout correctly can take a long time. This is not purely about degree of natural turnout but in learning to use muscle groups to maximise potential and prevent muscle bulk in the wrong places.

You can actually do on yourself which makes it cheaper????

Can I add the hour change in the winter. It's so dark now????

Based upon my understanding the whole concept of this program is about releasing tension rather than stretching. The whole thinking and subsequent program by Lisa Howell came about as a result of her observing a hip replacement operation of an elderly man whom she had assessed prior to surgery. His range was extremely limited but to her surprise the surgeon got hold of the patient's leg whilst under anaesthetic and she saw that it had a full range similar to a dancer. This lead her to start thinking about the concept of what the body can do if the mind gets out of the way. She would say that the more familiar you get with the stretches and once you find out where in the body you carry the most tension then you only really need to do these specific stretches. For example, if I learnt the stretches for the thoracic spine resulted in a marked increase in my flexibility measured through two stretch tests then this is likely to be an area where I carry tension and will benefit from the use of these stretches. As to how long it lasts, I would say based upon my understanding that the more you get to the point of targeting the program at the relevant areas of your body then the less you need to use it. This has been my own personal experience although I find I naturally use some of the stretches if I am warning up as they work well for me. That said I am naturally pretty flexible but have seen an improvement in range in those less flexible when I have taught the concepts to classes.

Perhaps all DD and DS should try neck and shoulder releases on DM! In the name of scientific research of course. Will post later in response to neck massage but not rocket science. You need to do scalp and the part where the neck joins the occipital lobes in the scull as well because a lot of tension can be held here. I just integrate the stretches into my warmup but there is a book that comes with it. You can use the exercises anywhere (within reason) ie you do not need DVD to integrate into practice once you know which exercises work best for you.

I attended Lisa's workshop when she came to the Uk. I find it useful but you could try testing flexibility lying down with one leg raised with pointed and flexed foot as a test and then give her a neck and shoulder massage and measure after. The program does not just release tension in neck but has exercises for different parts of the body. I have found that students particularly like the hip releases. Once you know how it works and the exercises you do not really need the book. Perhaps your dance school could buy one and share costs. PM me if you have other questions. PS I did try the flexibility tests pre and post a neck massage with my mother and the difference was significant. She is not a dancer. Lisa says the neck releases improve flexibility in approx 80% of people. My experience is that it is over 60% but smaller sample making it difficult to assess. Hope this is of help.

Not mad keen on pirouettes en dehors in attitude and six de vole as well. I do agree with the dislike on non square arabesque lines...something I sometimes term arabesque a la second if the leg is not behind the dancer...

I was coaching a student yesterday who committed the cardinal sin of performing a temps leve in arabesque jumping off two legs. I did tell her it was one of my bad ballet technique pet hates along with chasses which are not started with a demi plié. Thought it might be interesting to start a thread answering the questions. What specifically gets to you when you see executed without good technique? In addition, what are the steps that you personally hate so much that you give the teacher evil looks when they are put in an enchainement? I still hate grand jete en tournant and look with envy at some dancers who perform them so effortlessly.

I think it is very beautiful but it would be interesting to see some clips or another video of class work and rehearsal to portray just how much work goes on behind the scenes to create something like this.

I have to confess that I am enjoying Devious Maids which is done by producers of Desperate Housewives. It switches my head off which I think is a vital part of coping with stresses of everyday life provided it is not a sole strategy.

Having worked in several state primaries in the area, I am aware of what goes on in some of the housing estates near Clapham Junction which was the rationale behind my comment. Any other interpretation is purely the product of your own thought processes Michelle.

I do think that with all the professional, research or amount of years teaching experience there will always be an element which cannot be taught or gained from professional experience. Most people will relate to this from experience at school when there is likely to have been a teacher who had something extra which perhaps could not be put into words. I do think the student/teacher relationship is crucial at any level and some teachers are a better fit for some than others.