Rehearsal

I vividly remember i enjoyed the rehearsal part of ballet performances. Dancers stretching, doing slits so effortless while chatting about the latest celebrity gossip, fashion news with a few other ballerinas. Warming up our muscle while waiting for ballet director's cue for us to take place. Bags filled with pointe shoes, band-aids, toe-pads, sewing kit, hairpins, hairspray, make-up bag, leg-warmers, ballet wrap skirt... lying on the floor.

The drama going on backstage is just as exciting as the drama on stage. Production staffs, choreographers, dancers, light technicians, stagehands handling setpiece engaged in a orchestra like drama. Everyone is busy with their task of making this ballet look perfectly flawless on stage.

But there are nothing flawless about ballet performances, dancers often dance so exquisitely onstage, adrenaline may cause the ballerinas to dash off into crisis- nearly smacking into a setpiece, costumes falling off... A seamstress rushes in to fix her costumes, ballerinas wipe the sweat off her face, sip tiny bit of water... All these drama goes on backstage!

Ballet Books

1) Round about the Ballet.

This book celebrates the richness of dance. Beautiful photographs of prominent ballet dancers by Photographer Roy Round. He have been taking photos of dancers for 40 years.

Among the dancres featured in this book are:-
-Julia Kent (American Ballet Theatre)
-Gillian Murphy (American Ballet Theatre)
-Ethan Stiefel (American Ballet Theatre)
-Angela Corella (American Ballet Theatre)
-Albert Evans (New York City Ballet)
-Maxim Beloserkovsky (New York City Ballet)
-Maris Kowroski (New York City Ballet)
-Irina Dvorovenko (American Ballet Theatre)

I did flip thru the book, and i like the artistic photos.

2) Nureyev

A biography of the legendary dancer

3)The dancer's way
The New York City Ballet Guide to Mind, Body, and Nutrition


I personally read thru this book and find it very relevant for dancers and teachers! A good book to keep in every ballerina's library.

Here are some review of the book:-
"This book holds information and advice that could easily save many a dancer's career. It's written with a clarity and compassion that come from a woman who knows first-hand both the difficulties and the thrilling joys of being a dancer." - Bebe Neuwirth, Emmy & Tony Award-winning Broadway dancer, singer, and actress, and founder of The Dancers' Resource at The Actors Fund

"If you’re serious about a career in dance or just want to move through the rest of your life with grace, Linda Hamilton choreographs a perfect path. THE DANCERS WAY is the complete companion for anyone who wants the body, mind, and spirit of a dancer – a true athlete…” - Jerry Mitchell, director/choreographer of Legally Blond, The Musical and mentor of Bravo’s reality competition “Step It Up and Dance”

"The Dancer's Way is full of important and interesting information and I am impressed with the accessibility and practical applicability; not only for dancers but also for medical doctors and all other health care providers involved in the care of dancers. With this comprehensive book Linda Hamilton places herself in the forefront of dance medicine in its broadest sense. The book breathes the passion of the dancer, the skills of the writer, combined with the professionalism of the psychologist she is now. Highly recommended, a joy to read and - although dedicated to dancers - the book is a “must” for everyone active or interested in dance and/or dance medicine. Thank you, Linda, for sharing with us your vast knowledge and experience in two beautiful worlds, the worlds of dance and academia."
- A.B.M. (Boni) Rietveld, M.D. president of the International Association for Dance Medicine & Science

“Yummy book. It’s the “fit” dancers have been waiting for. EAT FIT, WORK FIT, FEEL FIT, LIVE FIT, DANCE FIT.” - Grover Dale, Tony award-winning director and founder of answers4dancers.com

“Meticulously researched and written with a warm and generous tone, Linda Hamilton’s The Dancer’s Way is an invaluable guide for dancers of any age.” - Meredith Monk, Dance Magazine and MacArthur Genius Award-Winning composer and choreographer.
"Linda Hamilton has lived this book. I’ve followed her career since she was in New York City Ballet and took my classes. She has become such a wise and understanding person who truly knows how difficult it is to be a dancer today and keep your sanity. This book is especially important for young dancers because is a treasure chest of new information which can eliminate pain, doubt, and fear. Brava!” – Finis Jhung, former principal dancer, Harkness Ballet and Master Ballet Teacher

4)Ballet 101

Ballet 101 is not just for novices. Back in print, in its second edition, this hefty but accessible book by Robert Greskovic, dance critic for The Wall Street Journal, will help established professionals brush up on ballet history, technique, and the plots of popular ballets. Greskovic gives us witty, easily digestible chapters that are jampacked with insightful information.

5)Classes in Classical Ballet

Asaf Mikhailovich Messerer (Russian, November 19, 1903 - March 7, 1992) was a Russian Jewish ballet dancer and ballet teacher. He was born in Vilinius, Lithuania. From 1919 until 1921 he trained as a dancer at the Bolshoi Ballet School under Mikhail Mordkin. He then joined the Bolshoi Theatre, where he became a successful soloist, eventually becoming their chief soloist, a post he retired from in 1954.

Today Messerer is best remembered as a choreographer and an instructor; he was both the choreographer and ballet master for the Bolshoi Theatre. His book Classes in Classical Ballet is a thorough study of proper ballet technique and is still used today.

The Swan

The Swan

The trumpets were curled away, the drum beat no more,
Only the Swan, the Swan, danced in my brain
All night she spun, dropped, lifted again
Arched and curved her arms, sunk on the
Snow-brittle feathers skirting her, reclined on hands
Buckling her waist, where the moon glanced
How small her waist was, and the feet that dance
Sometimes she bent back, and a breeze fanned

I cannot dance upon my Toes- Emily Dickinson

I discovered yet another strong, intensely reticent poet(silent girl, imagine sense and sensibility era kinda girl) Emily Dickinson (1830-86). I really liked her.

Choosing to live life internally within the confines of her home, Dickinson brought her life into sharp focus. For she also chose to live within the limitless expanses of her imagination, a choice she was keenly aware of and which she described in one of her poems this way: "I dwell in Possibility." Her small circle of domestic life did not impinge upon her creative sensibilities.

Dickinson neither completed many poems nor prepared them for publication. She wrote her drafts on scraps of paper, grocery lists, and the backs of recipes and used envelopes.




I cannot dance upon my Toes

I cannot dance upon my Toes—
No Man instructed me—
But oftentimes, among my mind,
A Glee possesseth me,

That had I Ballet knowledge—
Would put itself abroad
In Pirouette to blanch a Troupe—
Or lay a Prima, mad,

And though I had no Gown of Gauze—
No Ringlet, to my Hair,
Nor hopped to Audiences—like Birds,
One Claw upon the Air,

Nor tossed my shape in Eider Balls,
Nor rolled on wheels of snow
Till I was out of sight, in sound,
The House encore me so—


Nor any know I know the Art
I mention—easy—Here—
Nor any Placard boast me—
It's full as Opera—

Poem

The Ballet

They crush together- a rusting heap of flesh,
Of more than flesh, a heap of souls; and then,
They part, enmesh,
And crush together again,
Like the pink petals of a too sanguine rose
Frightened shut just when it blows.

Though all alike in their tinsel livery,
And indistinguishable at a sweeping glance,
They muster, maybe,
As lives wide in irrelevance;
A world of her own has each one underneath,
Detached as a sword from its sheath.

Daughters, wives, mistresses; honest or false, sold, bought;
Hearts of all sizes; gay, fond, gushing, or penned,
Various in thought
Of lover, rival, friend;
Links in a one-pulsed chain, all showing one smile,
Yet severed so many a mile!

Boy and Mom at the Nutcracker Ballet

BOY AND MOM AT THE NUTCRACKER BALLET

There's no talking in this movie.

It's not a movie! Just watch the dancers.
They tell the story through their dancing.

Why is the nutcracker mean?

I think because the little boy broke him.

Did the little boy mean to?

Probably not.

Why did the nutcracker stab his sword through the mouse king?
I liked the mouse king.

So did I. I don't know. I wish that part wasn't in it.

You can see the girls' underpants.

No, not underpants. It's a costume called a "Tutu", same word as "grandmother" in Hawaiin.

Are those real gems on their costumes?
Do they get to keep them?
Is that really snow coming down?

No, it can't be, it would melt and their feet get wet.

I think it's white paper.

Aren't they beautiful?

They are very beautiful. But what do the dancers do when we can't see them, when they're off the stage and they're not dancing?
Do you have any pistachios in your purse?

Tips on getting a strong and solid core muscle (Your abs!)

Tip 1:
Ballerina Cycle Crunch Abs Exercise
1. Lie face up on the floor and lace your fingers behind your head.
2. Bring your knees in towards your chest and lift your shoulder blades off the ground without pulling on your neck.
3. Straighten your left leg out to about a 45-degree angle while simultaneously turning your upper body to the right, bringing your left elbow towards your right knee.
4. Switch sides, bringing your right elbow towards your left knee.
5. Continue alternating sides in a ‘pedaling’ motion for 2-3 sets of 10-30 reps (both sides equals 1 rep). Do this excercise 2-3 times a week in order to get into a regular routine. And Ballerinas please pointe your toes.=)

Breath. Remember to breath while you do these exercises!



What we want to achieve is not muscular six pack but flat pretty stomach.







You can also do this exercise without 'pedaling', bring in both legs towards your chest. And straighten them to 45-degree angle (Don't even think about touching the floor!), remain for 2 seconds, bring them back to chest. Eyeline concentrate on your core/ stomach muscle. If you do it right, you will feel slight 'burning' at core muscle (stomach).

Tip 2:
Partner full vertical crunch ads exercise
1. Lie on your back
(Partner stand at top of your head) Both of you, create 'L' shape
2. Place hands on your partners ankle and contract your ab, and extend both legs up towards the ceiling.
3. Raise them over 90-degree angle until you reach your partner, partner push your legs towards the floor, your legs drop until 45-degree angle (do not touch the floor), rebound back up to your partner.
4. Change position. Your partner do the exercise, while you help her. Repeat for 2-4 sets of 10-20 reps. Do this abs workout excercise 2-3 times a week.

Tip 3:
Simply walk with a lifted up posture. Always lift up, tuck in abdominal. By walking in a good posture, not only will uplift your mood and spirit, you will look 10 pounds slimmer too!

Tip 4:
Next point is really interesting! Have you ever notice your tummy after meal? Do you just hang loose and relax your belly after meal? Well, try to tuck in your abdominal especially after you eat, will change you life! Try do it for one week, you'll notice a difference.

Love your tummy. Try these exercise at home, you'll have a smokin' hot abs in no time! Good luck, ballerinas!

What does Katherine Jenkins and Little Ballerina have in common?

Katherine Jenkins makes classical music more acceptable and available to people, just like Little Ballerina's goal of making classical ballet available to everyone!

One night only with Katherine Jenkins in Kuala Lumpur

I just went to classical music heaven back to earth, still stunned by my all-time favourite classical singer Katherine Jenkins. This is the first time she ever performed in Malaysia.

Thanks to my wonderful husband had arranged for me to watch Katherine Jenkins perform live in my homeland.

Among the beautiful songs she sang were, L'Amore Sei Tu (I will always love you), O Mio Babbino Caro, O Sole Mio, Hallelujah, Prayer, Habanera (From Carmen)...etc...

Guess what? I even got to take a photo with Katherine Jenkins!! Meeting her and telling her I marched down the aisle during my wedding with her version of Canon D! It was a moment i will remember for the rest of my life!

Indeed, tonight is a magical and special night!

Learn more about Katherine Jenkins:- http://www.katherinejenkins.co.uk/ Listen in to her angelic voice:- http://streamos.warnermusic.com/flash/wmiuk/katherinejenkins/audio/GodfatherTheme.mp3

Darcey Bussell & Katherine Jenkins present VIVA La DIVA

The DVDs are getting more exciting, today i literally was move to tears by this fantastic DVD! I was having goosebumps after goosebumps... just amazing!

Two of my favourite artists', the legendary Ballerina Darcey Bussell and the beautiful Welsh Opera sensational classical singer Katherine Jenkins, join performance called 'VIVA La DIVA'!

Both great artists appeared in a stage song-and-dance production, entitled Viva la Diva, paying tribute to stars including Fred Astaire, Doris Day, Audrey Hepburn, Barbara Streisand, Scott Joplin, Edith Piaf, Cyd Charisse, Natalie Wood, Shirley Bassey, Marilyn Monroe, Madonna and Judy Garland. The show opened in Manchester in November 2007. Jenkins learned to tap dance, spending eight hours a week learning the choreography and running three miles a day to get fit.

It is worth every minute of watching!

Ballet Review: Raymonda

LittleBallerina: Ballet Review
Raymonda (Documentary) By Paris Opera Ballet


This is the 1st time i watched a Documentory of Raymonda on DVD. I was fascinated to find out that Alexander Glazunov's music was just fantastic, I love very beat of the music! Do you know that Glazunov's music is being used in many RAD Graded syllabus? Familiar tunes reminded me of my ballet class. =)It is, quite simply, brilliant. It was one of the most varied, colorful, and interesting scores in the entire history of ballet. As interesting to hear as to dance to, including an innovative finale in which the prima ballerina dances to a solo piano with only occasional interjections from the winds and pizzicato strings. I find myself humming to the tunes while i watched the DVD.

This DVD is a documentary about Rudolf Nureyev, the ballet legend's version of Raymonda. He was appointed director of Paris Opera Ballet in 1983. In the film, it features Nureyev rehearsing as well as talking to the press about his work, but more important, the reactions and reminiscences of dancers who worked with the legend. Among the great stars who appear in the film are Fanny Gaida, Elisabeth Platel, Sylvie Guillem, Isabelle Guérin, Laurent Hilaire, Charles Jude, Manuel Legris, Elisabeth Maurin, and Kader Belarbi.

Raymonda was wonderfully choreographed by Marius Petipa. I especially enjoyed the fantastic rehearsal scenes of dancers of Paris Opera Ballet. Sometimes, I almost prefer watching dancers in rehearsals in their simple leotards and tutu (simplified, pure line, clean work), than in elaborate costumes and head accessories (No doubt, they do add dramatic and stage effects)

Raymonda is such a technically challenging, extremely artistic ballet. As one ballerina put it, in most choreography you have a little “breathing room” between dances, but in Nureyev’s staging you went from whirling in one scene to a six-minute Adagio of extraordinary difficulty. “All you want to do is rest for a minute, and you have to control your body for what seems like an eternity!” she lamented.

In case you have no idea what Raymonda's story is about. Let me tell you briefly, it tells the story of Raymonda, a beautiful noblewoman who is engaged to marry the Crusader Jean de Brienne. During her lover's absence the wicked Saracen knight Abderakhman attempts to abduct her, but she is saved by the intervention of a protecting spirit, the White Lady, whereupon Brienne returns to slay his rival. The lovers' joyful marriage is celebrated by a lavish Hungarian divertissement. One of the highlight of Raymonda is the Waltz Fantastique.

Watching this DVD left me wanting to see a complete Paris performance of Nureyev’s Raymonda. Can't wait!

Ballet Review: Don Quixote

LittleBallerina: Ballet Review
Don Quixote- Ballet Nacional De Cuba




I enjoyed watching a wonderful DVD Ballet Performance tonight. Two exceptional young dancers, Romel Frometa and Viengsay Valdés of Ballet Nacional de Cuba led the exuberant version of "Don Quixote" choreographed by Alicia Alonso.

Alicia Alonso, now 82, was on hand for a standing ovation at the end of the performence, and it is worth remembering that the company is an outgrowth of the troupe she founded in 1948 in Havana with members of American Ballet Theater, where she was a star. It was amazing to see a 82 year old lady leading, teaching a whole troupe of young dancers! Counting, making sure the dancers kept up with her beat.

I like the passion, Latin movement in this idiosyncratic 1988 version of the 19th-century "Don Quixote." But most of all, I enjoyed watching the classical dancing. Alonso successfully revive the classical love story between Kitri and Basilio.

"Don Quixote" is a story about young Kitri, the vivacious heroine, and Basilio fell in love but her father plan to marry her to a pretentious, foppish rich suitor Gamache.

The feigned comic suicide of Basilio, her sweetheart, now takes on an edge of desperation, and when all is set right, with Kitri's father blessing her and Basilio , the festivities roll right into the celebrated grand pas de deux.

As Kitri, Ms. Valdés can bring the house down with her phenomenal balances on one leg, and she is very much a turner. Yet these are technical feats that are only part of the complete picture she gives. She relates to her partner and everyone onstage, fusing characterization with style and technique. Her Kitri is not a pouting poppet but a strong-minded heroine with a brain whose love for Basil radiates throughout the performance. Mr. Frometa, has preserved the pure line, beautifully pointed feet and physical resilience that he showed as a noble classical dancer a few years ago. His comic byplay with Ms. Valdés was apt, but he would, one suspects, do even better in a princely role.

This production, under Ms. Alonso's direction, keeps to the standard choreography in the set pieces that have come down from the 19th-century Russian "Don Quixote" of Marius Petipa and Aleksandr Gorsky. But much of the ensemble choreography is new and more classical, turning the vivid Spanish dances in character style into more academic pieces.

Don Quixote (Dayron Vera) and Sancho Panza (Javier Sánchez) are, as usual, secondary characters. But in the vision scene, the Don steps away from a sleeping double and becomes a classical partner to the three soloists: Sadaise Arencibia, a tall, exciting dancer with a high extension as the Queen of the Dryads; Idania La Villa, a strong dancer as Love, and Ms. Valdés, who is identified from the start with a Dulcinea double (Ivette González). Unusually, the vision scene is pictured as a 19th-century Romantic ballet in romantic tutus.

An extremely well-danced classical duet in Act III came from Jaime Diaz as the bullfighter Espada and Hayna Gutiérrez as Mercedes the street dancer. Romel Frómeta stood out in a brief solo as a Gypsy boy among the new young bullfighters and other folk. The music by Ludwig Minkus was on tape but nicely paced.

Little Ballerina: Adage

I'm a classical music lover.

Let me define Adagio, in music, means slowly. In Ballet, Adage, means slow, unfolding movements. A type of slow flowing, balletic movement being performed. Usually done with a beautiful music.

In a classical ballet class, Adage often come after pirouettes, this portion of the lesson concentrates on slow movement to improve the dancer's ability to control the leg and increase extension. Flexibility is always a plus, dancers to bring the leg into high positions with control and ease.

Leg extensions are at full classical height of 90 degrees, can be taken higher, though only when appropriate and without distorting the purity of their line. In adage, it is absolutely important for dancers to focus on the process by which the limbs reach their full extension rather than on how high they rise their legs. Always remember QUALITY not quantity. The quality of sustaining and lengthening the limbs outward, radiating from the centre of the whole body. Classical leg extensions achieve their beauty shaped by the dancer;s breathing, as an expression of spiritual expansiveness, never by force or strain.

For Advance students, Adage section are more complex co-ordination, using all alignments and directions of travel, a fuller range of body poses, and different ways in which the limbs can move in space from one position to another. Sometimes, it require great co-ordination, balance, control and concentration. It require strength to perform more intricate movements with the appearance of ease.

That is what Ballerina do, to make difficult movement, look so easy.

Little Ballerina: Allegro

Allegro, literally means brisk, lively. In Italian, means gay or joyful.

In class, dance variation characterized by jumps and a faster tempo. These comprise a well-timed and directed push-off, a clearly presented aerial position,and a controlled, sustained landing. They require quick thinking, remembering quick and fast jump steps ON TIME with quick often playful music. In RAD syllabus, I find Allegro is fairly reasonable as they are fix exercise, and you are given time to rehears over until perfection. However, in ISTD syllabus, students are more quick to catch new free work. They are very versatile, you can throw demanding steps, and they will easily remember and complete the routine on the spot.

In petit allegro the dancers execute smaller jumps such as petit jete and entrechat, while the grand allegro is characterized by bigger jumps such as sissonne ouverte or grand jete.

In petit allegro, teacher always look for fast, clean work.

In grand allegro, look for sustaining in the air, ballon movement, elegance.

A good dancer understand the degree of energy needed and use only as much as required, to achieve different qualities of steps from petit to grand allegro. The more impetus on push-off the more control will be needed on landing. Grand allegro require stamina, more energy and vitality from initiation to completion.

I always believe a brilliant dancer can communicate and engage with the audience through her eye focus and use of head. This not only give clarity to the line of jump, it enliven and enhance the whole effect of dramatic elevation. Again, dancers are not just moving machines, they interpret, they feel, they listens to music, they touches audiences' heart.

Dancers' interpretation comes from total body involvement and use for breath and projection to convey the motivation for each movement. The bounding springs and soaring leaps of allegro work embody the essence of spiritual and physical flight. This is poetically expressed in Sleeping Beauty Act III, when a superbly trained and talented dancer was chosen to dance as Bluebird, dazzles Princess Florine (and of course the audience) with his rebounding vaults, enticing her to escape her confinement and ascend to his beautiful realm far above the earth. Utter beauty, my heart almost stop, admiring those graceful leaps.

Little Ballerina: Coupé Fouetté Raccourci Sauté

I enjoy this exercise very much. Love the strong ballon movement.

Coupé Fouetté Raccourci
Usually done by beginners, facing bar. (En pointe or en demi-pointe) Start with a coupé derriere (touching ankle), strongly extend the working leg to 2nd en l;air 45 degrees, and finishes en fondu, sharply whipping working foot to mid-calf, maintaining turn-out throughout the exercise.

Coupé Fouetté Raccourci Battu
A Coupé Fouetté Raccourci Sauté in which the legs join in the air to beat in 5th position without change of feet before landing. Very light beat. Require control and technique. More difficult if it were to execute en tournant.


Coupé Fouetté Raccourci Sauté
A coupé action leading into a vertical jump, working leg strongly extended to 2nd en l’air 45 degrees, with an sharp inward whipping action of the working leg. End with left foot sur le cou-de-pied derriere en fondu (touching the mid-calf), arm 3rd position right arm forward, eye focus over the right forearm.

Thought on Coupé Fouetté Raccourci Sauté

- Strong and quick whipping action of working legs, remember to maintain turn out during landing
- Extend working legs fully to 2nd en l’air 45 degrees
- Jumping supporting leg fully pointed in the air ( for Coupé Fouetté Raccourci Sauté)

LittleBallerina: Battement tendu

Battement tendu

Battement tendu means “stretched beating” in French, the straight working leg brushes out to its longest, stretched position, toes always in contact with the floor (A terre). It returns to its original position or to a new one, sometimes with a plié, sometimes with an additional variation in the extended position. For those ISTD teachers, you need to be a bit creative in giving different variation (taken from 5^th position and executed to the front, to the side and then to the back) free work during class. This sequence of movements is called en croix, which means ‘in the shape of a cross’.

Purpose

Tendus teach and train you how to move your feet and legs correctly. They develop a supple, articulate foot and a strong, flexible ankle. They build the strength and control you need to stand on just one leg while working legs works in all directions around you. The tendus has a fairly small range of motion, but mastering it is crucial for executing bigger movements. It is crucial for a lot of Asian dancers, as they do not have natural arched metatarsal. A nice arch can be trained by using various floor exercise, exercise band. (Refer to Little Ballerina: Top 10 tips on improving your arch)

My thoughts on Tendus

Lead with your inner thigh to really work your turnout.

Always think lead by your heel. Turn out.

Go through ball of your foot and lengthening the toes while you are fully point. When you are teaching small children tell them battement tendus is like ironing the floor. (Go through demi-pointe and extend fully to a fully extended toes on the floor. Feel the floor pressure) Pointing happens at both the ankle and the metatarsal joints.

When you are teaching younger children. Touch them by pushing or resisting their knees when they do battement tendus devant, use the same method, push their knees when they close. So that they can feel the ‘straight in and straight out’ feeling.

The return is essential; close your tendus precisely into a perfect first or fifth position, using inner thigh. Ensure heels down.

Always take care of your supporting side. Maintain turn out and feel lifted.

LittleBallerina: Plié

My thoughts on some classical techniques: Plié

Plié

Plié means “fold” or “bend” in French; in ballet it is to bend the knee or knees of your standing leg or legs. The barre usually begins with demi- and grand plié, it might look simple but it is not! Some people describe ballet movement as defying nature. There are some true in it, hardly anyone is born in those arkward turn-out position. It require years of training to develop the strength of muscle and tendons to hold the outward rotation of the hip- turning out.

Purpose

Plié warm the muscles and joints of the legs, as well as those crucial muscles that control your turnout. Plie is fundamental in helping establish correct placement and are the foundation of every turn, every jump, and every safe landing.

When you are teaching children, sauté (jump etc), always encourage and educate them the importance of landing with a plié, so that they would not create such a loud and noisy land and injured their hamstrings, tendons if they land with a straight leg! Use fun and imaginative words such as “sound like elephant jumping” if they do not use plie, or tell them a story that baby is sleeping in the studio, ask them to land with plie quietly. All these will create an interesting interaction between teacher and students in class. Most importantly, you get your message across to them effectively, they crack up laughing while learning the techniques.

Another fun idea is ask the children to face the mirror while doing plie, tell them you are looking for big diamonds as they plie. (The shape of knee bend create a diamond shape) Subsequently, ask them to repeat the exercise side way to mirror, ask them to check if their alignment is correct. Use funny words like “Check if your bum bum is sticking out like a duck?”

Important points on plié

Work your turnout properly from the hip joint, and maintain the alignment of your ribs and pelvis. (They should be in a straight vertical, pulling up feeling through the tip of your head)

Keep all ten toes on the floor (prevent ‘rolling boat’ feet!), and controlling your ankles and knees so they don’t roll in.

Keep your heels on the floor at all times during demi- plié; during grand- plié only lift them at the last possible moment going down and replace them as soon as you can coming up. Lift them as little as possible. In second position the heels remain on the floor.

Don’t sit at the bottom of the plié; start the ascent immediately and keep the timing consistent: if it’s two counts going down, it’s two counts coming up.

Use Breathing! Breath. Sometimes students became so tensed up, their movement look as if they don’t need to breath. Encourage breathing, inhale as you prepare for plié, as you bend, eyeline follow arms and exhale. Correct breathing can make plié look smooth, and it is pleasing to watch.

Grand- plié in fourth and fifth positions really challenge the turnout. Always use the mirror to check and keep pelvis ‘square’, do not ‘open’ or move the pelvis.

Straightening and stretching the legs is equally important in plié. Think of ‘Resistant’. Counter pulling effect, imagine a rubber band being pulled upward and downward.

Example of a free plié work for Advanced students

Commencing 1^st position, bras bas

1-4 Prepare arm through en avant to à la seconde

1-5 Demi- plié, arm à la seconde

1-6 Rise and lower, retaining arm line

1-7 Full plié with simple port de bras

1-8 Full port de bras forward bend raising arm to fifth position

1-9 Degage to 2^nd , opening arm à la seconde

1-10 Lower heel in 2^nd

1-11 Repeat 1-8 in 2^nd

1-12 Sideways port de bras towards barre, recover opening arm à la seconde

1-13 Degage, rond de jambe to fourth position

1-14 Repeat 1-8 in fourth position

1-15 Full circular port de bras

1-16 Degage, to close fifth position

1-17 Repeat 1-8 in fifth position

1-18 Arm through bras bas, en avant to fifth

1-19 Backward port de bras, recover arm to 1^st arabesque line en l’air

1-20 Arabesque penché, recover, close fifth.

Little Ballerina: Top 10 tips on prevention of pointe-related injuries

Little Ballerina: Top 10 tips on prevention of pointe-related injuries.

Warm-up/ Know your body

1) Always do enough warm up and stretching before class. Arriving at least 15-20min before actual class to do stretching and warm up, gives you enough range of motion to fit into stance, positions, even challenging poses. Remember, warming up and cooling down after class are crucial to longevity of a dancer’s career.

2) Always do a regular technique class before going on to a full pointe class. By doing so, it prevent frequent cause of tendonitis.

3) Floor exercise that involve stretching and working on the instep and forefoot will lessen ankle related injuries.

4) There is a misconception of wearing leg warmer, people thinks that by wearing them it will warm up muscle. So not true! So, always put them on after warming up to preserve the warmth, rather than wearing them to warm-up and then removing them.

5) Everyone has its own body type, own range of motion. Think of lengthening line to accomplish your maximum range of motion, instead of imitating someone else and risk injury.

Shoe size does matter!

6) Pointe shoe that is too short can bring great discomfort to the Achilles tendon, cause ends longer second and third toes to become pressed, resulting in corns and callous formations, or possibly to disjoint from its normal structure, which can lead to an arthritic condition. Wearing shorter shoes prevents the arch from expanding. Once the elasticity of the arch is lost, the ability to jump is lost. In addition, it also lessen a dancer’s plie. If foot contact a half inch or longer on the satin at the heel of the shoe, the size may be too short. Beware, it can cut into the back of heel when you do plie or during jumps! Shoes that are too narrow squeeze the toes and joints, pressing together might lead to toe nails ingrown or cutting into other toe.

7) Shoes that are too big lessen control of movement. Bigger shoes might cause sprained ankles, overstretched tendons, and overdevelop of muscle that is working hard to hang on to the shoe. Stiffness of back, shoulder, and neck might result on compensating for loss of range of movement when control of foot is lost. Foot will end up sinking into the shoe, causing the big toes twisted.

8) Always tie your ribbon just right. Tight ribbon cut off circulation, creating tremendous pressure on ankle.

Faulty techniques

9) Faulty techniques always lead to injuries, these include incorrect line, improper weight placement.

10) Ballet injuries always happen when fatigues set-in. Long strenuous classes, rehearsals might result in poor placement caused by tired/weak muscles incapable of holding the feet in proper alignment may cause varies physical strains and stresses.

Little Ballerina: Top 10 tips on Improving pirouettes

Little Ballerina: Top 10 tips on Improving pirouettes

1) Confident is the key. Always think of a good turn, before you start your pirouette, you already win half the battle. Your brain should see its completion and know where your body will finish. I always tell my class, “You have nothing to lose by thinking positive, you can turn!”

Teachers should absolutely give 100% positive encouragement to their students. It boost dancers’ confidence and if they still cannot make the perfect pirouette, always encourage them by saying, “Good try, let’s try again!”

2) Spot is vital! Be free in the head and neck so you can spot.

3) Never rest your toes on your knee in passé. Keep moving your thigh open (maintain the turn out) though out the whole turn and back to ecarte position so it’s actively turning out. Use imaginative illustration, like “your working leg’s knee is like a machine gun firing bullet, make sure you fire 360 around the studio.”

4) Take time in preparation 4^th position to engage your pelvis muscles, go thru deepest point of demi-plie, push working leg away from floor and place body weight over supporting leg into a pirouette.

5) Think of the double pirouette as one turn. “Sharp, sharp”. Never double bounce!! Imagine the first rotation as a releve to the front, which set you up on one leg.

6) During your turn, everything from your supporting toe to your hip point should go up, while everything from shoulder point to hip should go down. It is an up and down action that is articulate, clear, and smooth.

7) Use your back! The back has to be strong and expressive, when you turn.

8) Finally, regardless of whether you have done a good or bad turn, smile confidently, slow down the closing of the arms to create an effortless-looking pirouette. Finish gracefully.

9) Never give up! Teachers need to be patient in working with students that face difficult challenge of turning pirouette. It can be spirit crushing for students. Teachers give suggestion for improvements, guide and work with student, give positive affirmations.

10) Practice, practice, practice!

Healthy Eating for every Ballerina

Healthy Eating for every Ballerina

I spend my university days studying about medicines and pay a lot of attention learning the importance of essential nutrients for our body to function well, so that our body can work at it’s best capacity.

Forget about dieting, a true ballerina do not starve themselves! In actual fact, you need to make sure you eat well to replenish all the energy burned out during dance and rehearsals. I would like to share some important notes on eating well.

Eat protein

About 25% of your daily food intake should come from protein because it is essential little building blocks known as amino acids, for building strong bones, muscles, healthy teeth, hair and nails. Dietary source of protein include meat, eggs, grains, nuts, legumes, soy products and dairy products such as milk and cheese. I’m not a meat person, so how do I include protein into my diet? Spirulina is an excellent antioxidant and protein source without calories or cholesterol. Ideal for sportsmen and ballerinas. A healthy diet rich in protein will not only satisfy your appetite and stimulate your hormones to burn fat in your body.

Here is a guide to protein sources:-

Legumes	Grains	Nuts and seeds	Dairy products	Meat
Cooked beans, lentils, chickpeas Steamed edamame (my favourite Japanese snack) Green garden peas Peanuts Miso Bean curd (Tofu) Tempeh Soy Milk	Whole wheat pasta Wheat germ Oat bran Whole-grain bread Whole-grain cereal Buckwheat noodle	Walnuts Almonds Sunflower seeds Ground flaxseeds	Cottage cheese Yogurt Milk Whole egg Egg white	Skinless Chicken Fresh Fish Turkey Lean beef Lamb Pork

Eat Omega-3 fish oil

Fish oil contains omega-3 fatty acids EPA and DHA have a various benefits to our body. Fish oil provides an anti-inflammatory action within the body which may reduce inflammation in dermatitis, psoriasis and joint swelling associated with arthritis. Omega-3 fatty acids are also important for cardiovascular health. As a dancer dancing all the time, we need to maintain healthy joints and make sure our heart gets the essential nutrients.

In addition to these wonderful benefits, DHA is necessary for the normal function of our eyes, brain, and nervous system.

Drink more water

It is all about choice, when it comes to water. You can make a conscious decision in grabbing the carbonated sweet drink or just plain water. Your healthy choice will make a difference in a long run. Water help to keep your skin soft and supple, eases constipation, flush out toxin and waste products from your body. As we spend much out our time wearing leotards and essential to have flawless skin on and off stage. You’ll notice a better complexion and clearer skin by drink enough water to hydrate your body.

Recommended fluid intake is about 1.5 litres. Dehydration in dancers can lead to tiredness and a tendency to snack for energy! (as thirst receptors often get mixed up with hunger receptors)

Eat a least 5 portions of fruits and vegetables a day. Seriously!

I know, we are not all rabbits that are born to love to eat carrots. Some even may say vegetables are an acquired taste. Well, the fact is that vegetables are packed with essential carotenoids, fat soluble Vitamin A, D & E as well as water soluble vitamins B, C and folic acid, numerous minerals, provide a good deal of disease fighting phytochemicals and constipation fighting fibers that are very vital for a dancers body.

Carbohydrates are a complex issue

Some dancers, concerned about gaining weight, mistakenly drop carbohydrates from their diet. There’s no doubt that refined carbs such as white bread, crackers, pastas, white rice, cakes, cookies and potatoes, are nutritional slackers. But unrefined complex carbohydrates, such as whole-grain breads and cereals, brown rice, wholemeal pastas and green vegetables supply essential B vitamins, trace minerals, they are filling, and provide energy for dancing. Again it is about choices.

Who is the creator of Little Ballerina?

Name: Staphanie Mun (d.o.b 15 January 1982)

Hometown: Kuala Lumpur

Occupation: Pharmacist, with great passion for ballet.

STAPHANIE spelled with an ‘A’: “Yes. It was a mistake from the beginning. But as time goes by, i love it, there is only one special Staphanie among all the Stephanies.”

It’s the simple things

What makes Staphanie happiest? "Smell of brownies and coffee. My] husband making me crack up. God’s grace and blessings."

Parental guidance: “My mum taught me to stay positive, be a truly sincere friend, to make memories- make effort to spend wonderful time with people that you love most. My dad taught me to be generous.”

Watch out Martha Steward:

She loves baking stuff, cooking and ohhh so love decorating her home to perfection.

She thinks she has a dream job:

When not in the office or teaching private ballet lessons, she research and writes leisurely about one thing she loves most, ballet.

She is traditional:

“I always collect all ballet related books, pointe shoes everywhere I go in the world, has a hand written secret recipe book that contain all my God-mother’s wonderful traditional Chinese cuisine. And still own my very first encyclopedia, letter ‘B’ series, simply because of the description about Ballet.”

What is Little Ballerina about?

What is Little Ballerina about?

When I was six, my mother signed me up for ballet lessons. I immediately feel in love with ballet, I enjoyed my classes, recitals and performances. I always worked extra hard, put in more effort than other girls, for main roles in performances.

Having passed all R.A.D. ballet exams up to Advanced level, I was advised of a teaching opportunity which, at the age of 18, I decided to try my hand at. I found that I enjoyed teaching children the art of dance.

I decided to pursue academic instead of pursuing ballet professionally, I continued my studies in Pharmacy and graduated as a pharmacist years later. Classical ballet is still a huge part of who I am. I grew up with ballet surrounding my daily routine. My former ballet academy was like my second home. I continued my passion for dance all these years, during my university days till now as I worked as a pharmacist.

Ballet is such a beautiful, graceful physical and artistic expression. It was love at first sight for me!

This is a project I wanted to start for ballet lover who have or have no dance training, for the ‘little ballerina’ in you. It is a sharing platform, for wonderful people that appreciate the art of dance.

My Thoughts on Teaching:-

Teaching children and adult ballet allow me to give back what I have enjoyed all these years of training to our next generation of dancers.

Children can be trained with patience and love. As teachers, we should give our best to train and teach them to be sensitive to music, let them learn about the captivating stage expression, discipline, cultivating self esteem, self-confidence thru dance.

I am a strong believer of positive affirmations and encouragements in teaching children. I believe in character building, shaping positive happy children while instilling foundation of discipline. Children thrive on encouragement, laughter, trust, boundaries, listening and freedom to be themselves, on the contrary, children wither on criticism, being judged, authoritarianism. I hope my students will enjoy their ballet class every single time, come running out from the studio wanting to share all details with their parents after class. Be a ballet teacher that cares, loves and children will always remember their names up until adulthood. Be a teacher that changes lives!

My goal isn't to see my students dance on the stage with a world-famous ballet company, by giving Nazi style training. I’m more interested in letting my students enjoy, have fun and establishing the right foundation in life for all of my students, by instilling discipline, self-confidence and joy in dance.

Many of the skills needed later in life- discipline, perseverance, the ability to learn new things are learned in the dance studio.