Thecatsmother

She certainly has spirit when she dances and huge potential. Let's hope it's nurtured and channeled in the right way for her.

What is the injury diagnosis Lin?

He was a truly inspiring dancer and teacher whose legacy shall live on in the people whose lives he touched. I feel v fortunate to have been taught by him and my thoughts go out to Alfreda and her family at this time.

I may be able to help on Sundays if you want to PM me.

I like your post Anjuli????

That must have been given the jump an unusual look due to preparing the foot to land on pointe Anjuli? I think my question is why would anyone want to do that in the first place?

Indeed Aileen.

There are company dancers who are more well endowed who find non surgical ways of dealing with this issue on stage. Not sure if it is self or company directed. I would hope self directed.

Lovely links. I think it demonstrates some of the key ingredients so to speak to develop good allegro. You need good plié and power through the feet to push off from the floor into the air. This is why it is important to work the feet as much as possible at the barre as if you cannot go through the whole foot with strength your power in a jump will be compromised. Try filming basic tendus and sautes and look at your footwork as this can be a really useful way to use recording as a learning aid. Look for articulation of the whole foot. If you notice that the end of your toes are not fully stretching in a jump or a tendu it is a sign you need to do more foot and metatarsal strengthening exercises.

May I just add a word of caution for any younger students or adults new to ballet who may be reading some of these posts. I very much doubt that some of the steps being aspired to here should even be attempted. These are steps that vocational students and professional dancers would find challenging and as a teacher I feel obligated to flag up the issue of safety to all readers. Obviously there is always the issue of freewill but there is so much that an adult can benefit from through a forum like this so perhaps I will throw in a different angle to stimulate discussion. What step do you do in class which you would really like to get a better handle on or to get some tips as to how you can get to it in class without sighing when you hear it's name mentioned. There is a wealth of knowledge on the forum who I am sure will be able to share helpful tips and there is no such thing as a stupid question. The progressive nature of ballet means that each step has it's value and purpose so there is always so much to learn from each other.

I believe my Advanced exam(old syllabus) lasted one hour and forty five minutes. I think I had blanked this out until this discussion. If I recall I worked on the syllabus for about 2.5 years partly at vocational school before taking the exam so perhaps this illustrates that the progression was slower. Not everybody did exams although we were all encouraged to start the Cecchetti major exams whilst at ballet school which was a challenge in terms of the differing styles. Good learning though.

I am also someone who went through the old syllabus up to solo seal. I have to say I do not teach syllabus anymore but some of the key aims and focus of the new syllabus is different and there is more encouragement to use less syllabus work in class. What I did observe over the years is the way in which the type of dancers being entered for the vocational exams changed. There was a time where students would not pass due to factors like insufficient turnout etc but this has all changed now. It will be interesting to track the very young dancers who come the whole way through the syllabus to see what kind of dancers are produced from the creation of the new syllabus.

I think this makes it even more of a minefield for those with no experience of ballet and certainly does not help ease them into finding the best class for them. Most beginners would have no idea what these terms meant so perhaps being a bit more user friendly in the terms of class descriptors has much to offer students and teachers alike. I personally think there is something that goes way beyond a knowledge of steps here which is key to progression. Without it you have the beginnings of a building where the cement has not set so to speak.

I like 'Someone like you' from Jekyll & Hyde as well as the other track mentioned.

I had the opportunity to watch a complete beginners class for adults a few weeks back and I must say I found it quite humbling as have not taught complete beginners for a while. I was so impressed by the way the teacher got a good balance between keeping the adults moving but also begun with the very basics. I guess what it hammered home to me is just how much is taken for granted and needs to be taught to those beginning as adults. It must seem like a really slow process but I am sure that if any adult beginners out there stick with it and really get good foundations then they will become far better dancers as a result. I guess like life it's the journey rather than the destination. It's so hard to unpick bad habits or teach new steps without firm building blocks.

Gosh, a red tutu for black swan. That would have confused me. I guess it's better to alter professionally when it cannot be achieved technically to a high standard although most companies would not pick rep that was not suitable for their company. I do remember years back watching a small company where one of the male dancers did a double tour and landed after 1.5 turns with his back to the audience. As for amateur performances unless they are vocational students I doubt any will not have some form of adapted choreography. It's just about being realistic about what is achievable given that most amateurs have not spent years in full time training and been specially selected as being suitable for this.

I have to say that some of the Manon pas de deuxs would be lovely too particularly if they were effortless in terms of lifts and transitions from lifts. The music is one of my favourites as well.

I totally get the injury frustration but there are other non injured parts you can improve. I do struggle a bit in a 500 sq ft flat without causing additional injuries to myself or the furniture though. If there was a fly on the wall I am sure it would be giggling watching me???? Often I do my exercises whilst watching ballet on TV as it helps motivate me.

It's a bit of a tricky area. Some adult ballet students lack confidence and it can be helpful to talk to them and give gentle encouragement that they might want to try the next level. Others become settled in one class and tend to just seem happy to come to the same class for years. I would tend to say it is best to check with the class teacher before progressing up a level or if you feel you are struggling in a certain level as they will be the best person to advise knowing the set up and having a feel for when someone is technically strong enough to progress safely to the next level. If in doubt ask as any teacher will be happy to advise.

A real vision. I guess if this was heavenly you would not get cramp either.

Would you have a theatre of choice for the repertoire of choice?

What you describe as arms in a 'high V' in balletic terms is called open fifth but open fifth can also be done with the arms in a curved open position from fifth rather like opening out the the arms from fifth but stopping at the same height as the other open fifth described so palms are facing inwards and arms form a curve. You will always know which to use as it would be specified by a teacher/choreographer.

Be nice if you could come back as another dancer for a day to dance something too. That would take some thinking about in terms of the ballet and the dancer????

It's always different going back the second time but one of the joys is you can evolve and bin the bits you did not like the first time round. Best of luck and I hope you can find the right class for you. Sometimes it takes a bit of shopping around to find one you feel comfortable with. It took me a while when I went back. I shall keep my toes crossed and pointed for you????

On the subject of learning and recording. I think there is far more to be gained from perhaps recording oneself doing basic steps which can be done in privacy and then really looking at how these can be improved technically. After all if you have poor quality ingredients even if they are in the right order this does not necessarily equate to a good performance. Learning the steps is really only a quarter of the process although it may feel like more for those who are unfamiliar with picking up choreography. This does not mean it cannot be enjoyed just that one has to get a balance between the amount of time spent learning steps versus the time spent addressing the technique, musicality and performance qualities of the piece. I personally would far rather watch simple choreography of a higher technical standard than complex choreography where technique goes out the window.