Aurora3

I didn´t say they are ALWAYS wrong! I said, the warm up they recommend doesn´t fit my body...

On 21/06/2023 at 01:04, Doing Dance 1 said:

I find this discussion fascinating. 

@Aurora3 have you engaged with the dance science resources that are now available to us? 
 

IADMS is always a good place to start. 
https://iadms.org/media/3598/iadms-resource-paper-the-importance-of-a-good-warm-up.pdf

Safe Dance Practice:

 

http://www.humankinetics.com/AcuCustom/Sitename/DAM/142/Safe_Dance_Webinar_Slides.pdf
 

https://humankinetics.me/2015/07/02/safe-dance-practice/amp/

some other interesting articles/ resources:

 

https://australianballet.com.au/blog/strength-beats-stretch

 

https://dancemagazine.com.au/2019/09/why-the-australian-ballet-dancers-quit-stretching/

 

 

 

I´m quite familiar with these! But nonetheless, if what science says doesn´t fit my body, I don´t do it! You probably know the saying "the knowledge of today is ther error of tomorrow"? So, science can be wrong...

On 04/02/2024 at 11:11, Aklf said:

 

Firstly-Congratulations to all of the hugely committed and talented dancers performing at the Prix this year! 

 

I was curious and skimmed through the top prize winners in the past 10 years. I believe there have been only 2 female gold medal winners in that period and the most recent 5 years have all been won by men. 

 

Can anyone who is familiar with the history of the competition  let me know whether the format has always been the same? It seems that the jury may have a tough time evaluating the dancers given the vastly different repertoire presented by men and  women and their innate physicality.

 

For me personally, it would be far easier to have separate male and female winners. The sheer virtuosity displayed by the men is hugely impressive and difficult to beat in terms of gravity defying leaps and turns- Such dynamics and power. By contrast, the women are wearing pointe shoes and presenting repertoire that often requires it to be judged against a more subtle and nuanced set of criteria and skills.

 

As the vast majority of classical

Ballets feature separate male and female Solos and also PDD, I feel there is space to celebrate the best of each. The repertoire has been choreographed and designed to showcase the different strengths of each so it would be wonderful to reflect that in an equitable way in the prize giving. 

 

Yes, Prix de Lausanne cleary favours boys! That´s one of the reasons I don´t like it (the other is that I am not a fan of the French style, I like Vaganova much better)!

Yes, I know the 2007, but it is not good for me because the shank is harder, you can´t go through demi-pointe and the platform is smaller (not much, but enough to feel the difference! I was very happy when the 3007 came out and now, it is so difficult to get! If anybody knows whether it will still be produced, would be great!

Hello, does anybody know whether the Grishko 3007 is discontinued? My retailer told me she hasn´t been able to get it for a few months now! I was lucky, she had one pair left for me, but if it discontnued, I will get into trouble in the future...

I don´t have any ideas for hot food (I only like cold food as snacks), but for keeping cool, you can use a little cool-bag...

On 18/09/2023 at 10:14, Anna C said:

There’s a huge difference between being “dissatisfied with your body”/“offended” and being shamed, bullied, and even abused for physical attributes that are often out of your control.  And having to stare at yourself in mirrors, day in, day out, comparing yourself to others (and that comparison being continued by teachers).
 

As for being “offended by anything they hear”, maybe what’s being said to them IS offensive. 
 

Just because teenagers are already insecure, ballet teachers weaponising that insecurity against students is wholly unacceptable.
 

 

I don´t say it is good if any teacher offends on purpose anyone, in a nomal school or a Vacational school! Nonetheless, any teenager sonetimes hears or reads something and is offended by that! At that age, girls are often mean to each other and also often misunderstand others! And they think anything they hear refers to themselves... I think you all know such situations!

I listened to this podcast. But I think, you have to take into consideration that it is quite common for girls at this age that they are dissatisfied with their bodies and offended by everything they hear, no matter whether they are at a professional school or not!

I listened to this podcast. But I think, you have to take into consideration that it is quite common for girls at this age that they are dissatisfied with their bodies and offended by everything they hear, no matter whether they are at a professional school or not!

I think it really depends on the kid. Some are able to take 90-minute classes at that age, others are not. You know your child daughter best! But if I were you, I would go for the stronger programme. Good ballet classes are rare and being the best in the class might be good for the ego, but not good for learning. Contemporary, however, I wouldn´t take. I think it only disturbs the learning process in ballet until a dancer is pretty advanced! 

On 19/06/2023 at 23:07, invisiblecircus said:

I went to this school, what would you like to know?
Has your son/ daughter already been offered a place?

Can you tell me, which technique is taught at that school? Vaganova or French?

I judge a "warm-up" by how I do in class after that. And I found out that this "scientifically proven" warm-up is not good for me personally. There are also more dynamic exercises in floor barre and PBT, maybe this is enough for me to "get the heart rate up". (And I need more for rotation, etc. than this kind of warm up povides to be well prepared for class.) But ballet class starts slow anyway!

On 12/06/2023 at 17:11, drdance said:

 

Several point(e)s here!

• The goal of a warm up (if done properly) is to get all major joints lubricated, to increase heart rate, breathing rate and to start progressively loading the joints. I don't think that PBT (which is often slow, controlled and with all or part of the body supported by the floor or a ball) actually achieves this. 
• I would actually argue that most sports require refined co-ordination as much as strength. Ask a footballer / tennis player / high jumper / golfer / badminton player etc etc about accuracy, skill/technical drills and they'll tell you the same thing.
• The physiological demands (intensity, aerobic/anaerobic demands, accuracy and speed of skill etc) of a ballet performance are very similar to that of a football (soccer) match. The only difference is that dancers have to make it look artistic too. Happy to discuss this in more length - I wrote much of the original research on the topic...

 

 

Yes, I have heard of the warm up research, but for me personally, I have found out that this kind of warm up is not good for ballet class... I really prefer PBT or floor barre, than all the muscles are ready for class! 

Yes, I agree, it is not a "cross training", but a conditioning for ballet! But I like it a lot because it helps me to understand movement patterns that you need in ballet class and it is also a great warm-up for ballet! I think, ballet is not comparable to many sports because it requires very refined coordination more than mere strength, so you can´t apply principles that works for "most sports" to ballet!

The backalast, however, I think, nobody needs. If you need a "reminder" for posture, you can easily make that yourself with tape - much cheaper...!

I don´t know that school, but in Munich, I´d much rather recommend the state run Ballet Academy (MuH)

Where is the livestream from this morning?

You could also try Capezio Hanami in 1/2 size shorter - they are stretch, so they should fit allright then?

I think they will inform you if you need anything special! If not, you can wear whatever you feel good in!

(Auditions are different because they don´t want to get distracted or prejudiced by expensive leotards!

I like the convertibles from Bloch because the division in the middle is invisible!

Natalia Kremen is a great teacher! I would ask her!

Yes, and you could talk to several studios that another studio lets you work with the kids?! I can´t imagine that they are all against that?

Why don´t you go to a school and ask them to do classes with the kids? I always do because I have the same objections to adult classes as you! So, I train with the kids!

How about Motionwear? Their bottoms run quite low.

Many ballet schools in Germany also teach Ukrainian refugee children for free right now!

I have heard Grishko can still be ordered!