Dancer Sugar Plum

This is really helpful Anjuli, thank you. I was trying to stop the pirouette and go into attitude at the same time and now I understand I was trying to do too much at once, which made me unable to control the pirouette finish. Would you mind me asking how I would put this into practice for pirouettes in attitude. I feel like I get 'stuck' half-way round and I wondered if it was to do with placement, energy, trying to do too much/little at once or a combination of all of this.

This is very helpful, I'll focus on sending energy up the next time I do en dedans pirouettes. Would you mind I ask you how you would approach finishing a turn in attitude derriere? It would be helpful to know where I should focus my thoughts and energy to get the working leg to attitude, but not end up doing an extra (unwanted) half turn after an en dehors pirouette. Am I right to think this follows on the theme of controlling energy properly? I find it especially hard to finish in attitude with control after an en dehors double turn. So it would be good to have someone explain how it feels to do it properly. Thank you.

If you understand that beginners' classes are not easy, then it is proof you are an advanced dancer who has been well-trained and very accomplished. I'm glad your balance issue is getting better.

I don't have high arches but I find Grishkos work for me. There is a girl I know with narrow feet and - I believe - not huge arches either but she found the Vaganovas by Grishko worked well for her. You mentioned your DD did not like the pro-flex. If your DD has not tried the Vaganovas and wouldn't mind looking at the pro-flex again, maybe it's worth trying Vaganovas in 'normal' shank and pro-flex? I tried to get fitted with Freeds quite recently (not in London). The shop assistant was very attentive and even especially ordered shoes in my size and width. During the fitting she was also honest with me and told me she did not think I had 'Freed feet'. However, she was happy to let me show them to my teacher, who agreed with the shop assistant. My teacher said she could tell I would struggle to get right over the platform if I was to use those shoes. I've also tried Gaynors, which looked lovely up en pointe and I liked that they were quiet and light. But I have broad feet, and I had problems with my big toe joint during the time I was using Gaynors. But if they had been right for me, I would have liked them very much.

Hello Anjuli, Your posts have been very useful, thank you. I was wondering if you had any advice for en dedans pirouettes. Is there a difference in approach and energy for the version with a fouette and the one without a fouette? I have been told that the one without a fouette is easier, but with this version I find it hard to get the foot to pirouette position quickly. With both versions, I find it's easy to be 'leaning' off to the side, or my body or hips are not central on the releve, or after the releve. Then once this happens I can only do a single turn at the most, Any advice would be appreciated. I think I find en dehors pirouettes easier so I have wondered why it's said that the en dedans pirouettes are easier. Thanks in advance.

I am the same as well. I can do the fondu with develope devant, bring to second and releve bringing the foot into retire. But I find it difficult to fit all that in with an actual turn. When I have tried it, I'm sure I've felt my body twist so that the shoulders and hips aren't always aligned with each other. So I would appreciate any advice on fouettes too. Sheila - Are you doing Advanced 1 RAD?

That's really helpful, Anjuli. I have a teacher who told me I had a habit - for a while - of preparing in my mind for only doing one turn, and then 'seeing how it goes' for a second turn. She said I can't take-off for a pirouette with a, 'I'll see how it goes' attitude and that the desire for a second (or third) turn has to be there before the releve. I know I need more energy for take-off if I wanted to do a double turn, but then if the placement (or something else) has gone wrong for that turn, then I would lose control for that turn.

I wouldn't have stuck with Capezio tights if I had not been given this tip by a professional dancer. Some years ago I did a series of classes taken by a professional dancer. One day the conversation turned to tights and it was mentioned by myself or another dancer in the class that the Capezio tights had an uncomfortable waist band that cuts into you. The professional dancer said she cut into the waist band to make them more comfortable. You cut 3 or 4 vertical slits into the waist band, but not so deep that it goes into the actual tights. Since then I've always cut into the waist band before wearing a new pair and I find this stops them digging into my stomach. So I think it's worth trying this tip if the waist band was the only thing you didn't like about Capezio tights. The first time I tried this tip I did it on an old pair in case I cut in too much. But as long as you keep the cut within the waist band, it's fine. There was one time when I was in a rush and cut too deep into a new pair - what a waste of a new pair of tights!

I like Capezio hold and stretch tights. They seem to me to be paler in pink than some other brands. I also quite like Gaynor Minden tights but they are quite a peachy pink colour when they're brand-new. However, they do fade in the wash to a more subtle pink colour so they don't stay the colour they were when they were new.

Anjuli, thanks for posting the pirouette articles on a separate thread. I have a question about the use of the back in a pirouette. I have noticed that I have a habit of landing a pirouette in 5th with the upper back too far back sometimes. I know this is not correct but once this has happened in class, I can't correct it for the following pirouettes. I know I have a habit of not using my back enough anyway (which I am trying to correct). So should the back be doing 'something' to prepare for the turn, and during the turn? Or is there a way of making sure the back is not too 'back'? Thank you.

Hi everyone, Thanks for such a quick response, it's much appreciated. I'll definitely be looking at Degas for my next leotard, the only problem is trying to decide which one to get! I wash my leotards on a 30 degree cycle with colour care tablets so it looks like I haven't done something 'wrong' with the way I wash them. Tippy_Toes - I'll definitely look into Stergene, thanks for the recommendation. Moomin - That's a great idea, I never thought to send photos to Bloch to see what they say. I'll get that arranged and post back on this thread with their response if I hear back from them. Thanks once again everyone.

Hello everyone, I have a question about washing leotards and how to stop them fading (or fading so fast). One of my favourite leotards is a tank one by Bloch in royal blue. I have been told by various people that the colour suits me. I bought the large size a couple of years ago when I was in London. The large was a bit too big for me but I loved the colour so much I bought it anyway and keep it in my dance bag as a spare leotard. I have worn it once so it's only been washed once. Later on I bought the medium royal blue one and I have been wearing that one for class every now and again. Since I also have the 'new' large leotard I've been able to compare the colours on both leotards. I noticed a while back that the medium-sized one seems to be fading in the wash very quickly. So after a few washes the medium one was starting to look pale in comparison to the large one. I was just wondering if any dancers, teachers or parents of DDs have any tips for keeping leotards the same shade for as long as possible? The leotard I am referring to is made with cotton lycra. Do people handwash their leotards or are there particular washing powders people would avoid using? Alternatively, if people know of other leotards in royal blue they would recommend, I would be happy to hear of recommendations. I would just have to avoid low-backed leotards because I can't do without underwear in class! Thanks in advance.

Hello Anjuli, Would you post them on a separate thread please? For some reason the search doesn't work for me sometimes so it would be useful to have a thread labelled separately about pirouettes. Thanks in advance for your help.

Sheila - It's good to know there are shops that stock different models of Grishkos in the UK. The shops I've been to so far, which have Grishkos, only have the 2007s. Unfortunately for me, I don't live anywhere near London, so if I was to take a trip to your shop in the future, I would have to add in an overnight stay in London, or something along those lines.

Hi VBee, sorry I misread your post. I know of someone getting a harder shank for 2007s. She had high arches and the shanks on the normal 2007s went too quickly for her. She had to get them specially ordered but I don't know how she found rolling onto demi-pointe, etc. The Grishko website seems to show a variety of shoes with different shanks, so if you find you would like to try Grishkos again you could go to a shop that supplies Grishkos and ask if they could order some shoes for you to try on. I get the impression that most shops that stock Grishkos seem to only stock the normal 2007s.

Hi VBee - You mentioned you liked Grishkos 2007s but found them hard to roll up through demi-pointe. If you could find a shop - or someone to order for you - the Grishko 2007 Pro-Flex model I would recommend you try them out. They are the same as the normal 2007s but the shank is more elastic so they seem to suit people who find the normal 2007s too hard. However, they are not suitable for people with very high arches. Good luck finding the right shoes for you.

Anjuli - I've managed to find a thread dating from last year where you include the pirouette articles. I've managed to find your articles (within that thread) about pyschology and placing the pirouette, which I've found very useful. Would you mind reposting your pirouette articles please?

Sheila - That makes sense, I just misunderstood your post, apologies. Anjuli - this is great advice about checking shoes. Just wondering, did you ever have problems getting the shop assistant to bring out every pair of shoes in your size to check over? It sounds like an excellent idea but I've never tried this before. What would you advise dancers who felt too timid to ask? I think the worry would be if the shop assistant did not understand why I was making the request to check every shoe in my size they had in their shop.

Thank you Mimi, that's very sweet of you to say so. But I think it's just a bit unusual to see pointe shoes on a train. Well, it seems to be in the UK anyway!

Wow Sheila that is stunning. Your customer is one lucky dancer with excellent taste. My only problem now is to find a good excuse for ordering a tutu. I wish I had a performance coming up in need of a professional tutu

I like the term 'ballet greedy' I feel the same about pirouettes. I find if I get anxious about them just before the music comes on, it ruins my turns. I think I worry because they are not consistent. I would call myself a right-turner but as a result it probably means I 'believe' the left turn will be worse. I also understand people 'favour' their left leg or right leg so would this affect your mindset to pirouettes? But once I get into the mindset in class that the-left-turn-will-be-worse, consciously or not, it ruins my pirouettes. Any tips on keeping the same positive mindset for pirouettes both sides would be much appreciated!

Hi Sheila, I think I'm one of those who who 'plonk' their foot in second rather than do a proper tendu when I'm fitted for pointe shoes. Because my feet are not easy to fit, I've usually had to try on a large number of shoes, so I don't want to 'ruin' shoes which are not suitable for me. There's something about shiny new pointe shoes where I don't want to mark the satin, especially if they're shoes I'm not going to buy. I've also heard about dancers whose feet are so bendy they could bend new pointe shoes just by doing a tendu. What would happen if you came across this while you were fitting someone? I'm just curious, it's not that I have feet like that! I've had a number of pointe shoes now and have been fitted in different places. So I like to think I can feel, when trying on a pair, if I will be sinking in them. Quite recently I was trying on shoes in a shop with a very young shop assistant. I tried on a pair, which slipped on very easily. Based on just standing in first the assistant's reaction was, 'Oh, they look nice!' I had to explain that my toes did not touch the platform and when testing one foot en pointe I could already feel a sinking feeling. She would have persuaded me that those were the right shoes for me.

I've not heard of Maria Fay's Floor Barre, but I'll find out more about it now. I know what you mean about non-dancing people around you not 'getting it'. In fact, I have a work-social coming up on the same night as one of my classes, which I don't want to miss. But I know if I don't go along to the work-social, my colleagues will say, 'But it's just ballet, surely you can miss one class?!' They've said it before and I'm sure they'll say it again But I have a funny story to share as well. Recently while sewing ribbons onto pointe shoes on an early morning train (I was in a rush to get them ready for class that evening) the woman who sat beside me on the packed train asked me if I was a professional dancer from one of the UK companies! At first I thought she was joking but she was actually serious and all because I had pointe shoes in my hands! It was lovely though, we had a nice chat about ballet and I think it was the first time she got to see real pointe shoes up close. She even gave me some tips with sewing (I'm really slow at sewing). So it's not all bad with non-dancing people not understanding ballet!

I meant 'Teachers can still tell the technical level of a dancer, and how good they are, regardless of the height of their extensions.'

Michelle, I was disappointed to read that you were still of the opinion that people said your teachers, physio and technique were 'rubbish'. Since I had made comments on what I had learned about ballet technique and physios in this thread, I assume you would include me in the list of people who had 'rubbished' you. I agree with a lot of the latest comments made by forum members and I was tempted not to reply at first. I agree with everything Spannerandpony said in post 417. But I wanted to set the record straight that I made my comments based on what I had learned as an adult dancer. This is something I've already said before. For example, when I voiced my concerns about some physios, I did not mean that your physio was definetly the same. The same goes for ballet teachers and pointe work. I have voiced what I have learnt that is considered safe practice, that is all. And I hoped people such as yourself found it useful. In fact, the same goes for the opinion I gave about the suitability of your Body Balance instructor to help you with your extensions. When I voiced that she may not be suitable for your needs, I based it on the fact that she had not done ballet before. It was not an attack on her, or your choice to go to her classes. The same goes for all other comments I've made about teachers and physios. So with the same frame of mind, and since I had started replying to your request, it's only fair that I should finish my response, based on your reply to my post. There may be forum readers who are wondering about the same thing as you are. You mentioned in your reply that your Body Balance instructor has had experience with pilates and yoga. In that case you may find that she can help with your extensions. But since I have never done Body Balance classes I may not be the best person to comment on her suitability. Or indeed, any Body Balance Instructor. The other potential 'problem' you may find, is since your instructor has not done ballet, you may find yourself spending a lot of time having to explain ballet terms. So if, say, you have an hour private lesson with her, where you are having to explain ballet terms and technique, you may not get as much done as you would like, had you worked with someone who knew, say, what the difference between a develope and a fondu was. It then becomes more expensive for you because you would need to pay for another lesson to cover everything you wanted to do, which was not covered in the first lesson. You said that ballet teachers you have approached seemed unwilling to give private lessons (This was the impression I got). Based only on my experience, a lot of teachers already have packed schedules. It was mentioned/hinted in another thread that some people found it difficult to obtain private lessons for their DDs and DSs. So if you're having no luck in this area, you may find it useful to ask one of your teachers to check that you are doing an exercise correctly. For example, ask a teacher to check you are doing Anjuli's leg-off-the-barre excercise with correct alignment and not using the wrong muscles to raise the working leg. If you have a teacher who has an excellent eye for detail, even better. I would also suggest, if she/he is too busy to look at you straight after the class you are about to do, ask if she/he would be free to look at you right before or after another class. That way, you are only taking up a few minutes of his/her time at the most. And it's always useful for a teacher to check alignment and that you are using the correct muscles in whatever you do. My other point is about the term 'beginners'. I get the sense you do not like the label and do not want to be associated with the label. I also get the sense that because other forum users, including myself, have suggested doing simple classes, that this is an indication we believe you are 'rubbish'. I believe you have the wrong end of the stick. There is no shame in anyone being an adult ballet beginner. Please note that I am not defining your dance level here. I had said that I personally found doing lower-level classes useful for consolidating my own technique. From what I inderstand, even the professional dancers can see the benefit of doing simple classes. Also, I've found that teachers are able to 'place' you mentally. I've mentioned earlier on that I have a teacher who says she can tell how much training someone has had based on their plies. Anjuli has described something similar. But most teachers don't actually say, 'You are a beginner level dancer', or, 'You are an advanced dancer'. However, it's impossible to 'hide' your level; your level shows in class. It shows in the way you try to do the steps or movements correctly. So there is no point in anyone arguing what level dancer they are on a forum. This also relates to your request for better extensions. It is great that you are keen to improve, but in a lot of ways your extensions don't matter at all. Teachers can still tell the technical level of a dancer, and how good they are. It's about how you got to that extension, what muscles you use and how you get back to 5th (it's usually 5th). Higher is not always better because someone could be raising their legs higher but using the wrong muscles. Again, I am just sharing what I have learnt. I hope some of this is of help to you.