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Friday, December 21, 2007
Merry Christmas Everyone!
Wishing all of my readers a very Merry Christmas. Hope you have all of your shopping done by now! :) If you need any last minute recipes, check out my blog here:
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Tuesday, November 27, 2007
Building Strength for Good Dance Technique
Author: Dianne M. Buxton
Article:
How does a teacher decide when a dancer can go onto pointe?
I have mentioned a few times in my articles about ballet shoes
and pointe shoes, that it is a good strategy to start doing
strengthening exercises for the feet before starting pointe
classes.
One or two classes a week will not prepare the feet, or whole
body for pointe work. Three classes a week for at least a year
will enhance the preparation, but even then, to achieve the
optimum strength for pointe work, there are exercises a student
can do every day.
The dancers I talk to seem very motivated to get into a pointe
class, so I am assuming that adding an exercise regimen to their
already busy day would not be a problem.
Lisa Howell, a dance medicine specialist, has written a
wonderful training series for young students who aspire to do
pointe work.
She explains many fine points of anatomy, especially of the foot
structure and muscles. She covers turnout, hip placement, and
more.
Students wonder "do I have the right arches for pointe?" ...."do
I have the right toes, the right ankles, enough
turnout?"...."why does my teacher say I'm not ready?"
I've always advocated holding a student back, if there is the
slightest reservation in my mind about putting her on pointe.
Weak technique in any area can be improved, so why risk an
injury or deviated growth pattern in a child?
Concentration and awareness is extremely important in ballet
class. It is recreational for many children, but there comes a
time when dedication is required to ensure safety.
This dedication has to show up before pointe work begins.
Developing good technique in ballet, means pushing your physique
to the max without sacrificing safety. Preserving the integrity
of the joints and muscles may mean a restraint of advancement.
Fellow students who are a little older, more physically
developed and stronger, may go into pointe class sooner than
others who are not.
I've had students who are "born pros". When I've had to hold
them back in some way, I explain exactly why and they really get
it. They are willing to build strength for good dance technique,
knowing that they will catch up once the strength has been
established.
This attitude reflects a positive outlook and a visionary one.
Children are more than capable of this. Whether or not they have
a great talent, some have an instinct for the more productive
approach to their progress. They are ready to suffer (and they
do!) a short term disappointment.
It's truly difficult for a teacher to work out a long range plan
for every individual student, to get them to build strength for
future pointe work.
If a student can find a prepared series of assessments and
exercises, and can assess her own progress, the ones who want to
advance in this way, will.
The good news is, you can go
get what you need to strategize your own plan for building
strength to do pointe classes!
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
here for more about planning for pointe work.
Article:
How does a teacher decide when a dancer can go onto pointe?
I have mentioned a few times in my articles about ballet shoes
and pointe shoes, that it is a good strategy to start doing
strengthening exercises for the feet before starting pointe
classes.
One or two classes a week will not prepare the feet, or whole
body for pointe work. Three classes a week for at least a year
will enhance the preparation, but even then, to achieve the
optimum strength for pointe work, there are exercises a student
can do every day.
The dancers I talk to seem very motivated to get into a pointe
class, so I am assuming that adding an exercise regimen to their
already busy day would not be a problem.
Lisa Howell, a dance medicine specialist, has written a
wonderful training series for young students who aspire to do
pointe work.
She explains many fine points of anatomy, especially of the foot
structure and muscles. She covers turnout, hip placement, and
more.
Students wonder "do I have the right arches for pointe?" ...."do
I have the right toes, the right ankles, enough
turnout?"...."why does my teacher say I'm not ready?"
I've always advocated holding a student back, if there is the
slightest reservation in my mind about putting her on pointe.
Weak technique in any area can be improved, so why risk an
injury or deviated growth pattern in a child?
Concentration and awareness is extremely important in ballet
class. It is recreational for many children, but there comes a
time when dedication is required to ensure safety.
This dedication has to show up before pointe work begins.
Developing good technique in ballet, means pushing your physique
to the max without sacrificing safety. Preserving the integrity
of the joints and muscles may mean a restraint of advancement.
Fellow students who are a little older, more physically
developed and stronger, may go into pointe class sooner than
others who are not.
I've had students who are "born pros". When I've had to hold
them back in some way, I explain exactly why and they really get
it. They are willing to build strength for good dance technique,
knowing that they will catch up once the strength has been
established.
This attitude reflects a positive outlook and a visionary one.
Children are more than capable of this. Whether or not they have
a great talent, some have an instinct for the more productive
approach to their progress. They are ready to suffer (and they
do!) a short term disappointment.
It's truly difficult for a teacher to work out a long range plan
for every individual student, to get them to build strength for
future pointe work.
If a student can find a prepared series of assessments and
exercises, and can assess her own progress, the ones who want to
advance in this way, will.
The good news is, you can go
get what you need to strategize your own plan for building
strength to do pointe classes!
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
here for more about planning for pointe work.
Tuesday, November 13, 2007
Keeping Perfect Pointes: Tips for Getting the Most out of Your
Author: Jen Wasilewski
Article:
Getting your first pair of Pointe shoes is a very excited part
of your dancing career. While they may be slightly uncomfortable
at first, your new shoes will eventually wear and become fitted
to your foot and its characteristics. To make sure you get the
most of your Point shoes once you've broken them in, you will
need to take special care of them. Here are some excellent ways
to help extend the life of these ballet necessities.
Article:
Getting your first pair of Pointe shoes is a very excited part
of your dancing career. While they may be slightly uncomfortable
at first, your new shoes will eventually wear and become fitted
to your foot and its characteristics. To make sure you get the
most of your Point shoes once you've broken them in, you will
need to take special care of them. Here are some excellent ways
to help extend the life of these ballet necessities.
- Get the Right Fit: Wearing the appropriate size
- Let Them Air Out: Letting your Pointe shoes dry is
imperative to their long life. Moisture that builds up in your
shoe will cause a quicker deterioration. Not letting your shoes
dry out appropriately can also cause them to take on a foul
odor. In order to make sure your shoes dry out after use, remove
any lamb wool or other inserts from your shoe and let them rest
in a warm dry place. Never store your Pointe shoes in a bag for
an extended period of time after wearing them. - Take Proactive Steps to Preserve Your Shoes:
Preparing your Pointe shoes before wearing them is another great
way to extend their life. Many dancers suggest darning the point
of your Pointe shoes to help cut down on the fraying that may
occur from average wear and tear. After darning the shoes with
thread and needle, you can also apply a thin layer of shellac to
help reinforce the material around the tip. - Alternate the Left and Right Shoes: If it's possible,
you should alternate your Pointe shoes. If your shoes are the
same size on each foot and there is little difference between
your right and left, you may want to consider alternating your
shoes between feet. Label one shoe left and one shoe right and
alternate on a daily or weekly basis. This will help keep wear
equal on both sides. If you're particularly rough on your right
foot, you will be able to prevent wear that results from a
dominant foot. - Use Alternating Pairs: If it's at all possible try to
invest in a second pair of point shoes. A second pair of shoes
will allow you to alternate pairs. Some people would assume you
would save one pair for say performances and one for practice
but that's really not a great idea. If you don't wear your
performance shoes in you may be in for a painful and less then
desirable performance.
will help you dance better, safer, and ultimately longer. Shoes
that fit improperly will be exposed to wear and tear that is not
necessarily normal for a usual shoe. While most materials will
stretch over extended use, never buy a Pointe shoe with the
belief that it will stretch substantially. Clearly if you're
Pointe shoes are too small they will eventually stretch and tear
quicker and will obviously be painful. It's also a bad idea to
buy shoes on the basis that you will grow into them. Shoes that
are too small hinder your ability to perfect positions and again
will wear improperly.
About the author:
Get everything you need including Pointe shoes and
Kix. Just for Kix is your one stop shop for all your
cheerleading and dancing needs. You can also find quality
prices
Keeping Perfect Pointes: Tips for Getting the Most out of Your
Author: Jen Wasilewski
Article:
Getting your first pair of Pointe shoes is a very excited part
of your dancing career. While they may be slightly uncomfortable
at first, your new shoes will eventually wear and become fitted
to your foot and its characteristics. To make sure you get the
most of your Point shoes once you've broken them in, you will
need to take special care of them. Here are some excellent ways
to help extend the life of these ballet necessities.
Get the Right Fit: Wearing the appropriate size
will help you dance better, safer, and ultimately longer. Shoes
that fit improperly will be exposed to wear and tear that is not
necessarily normal for a usual shoe. While most materials will
stretch over extended use, never buy a Pointe shoe with the
belief that it will stretch substantially. Clearly if you're
Pointe shoes are too small they will eventually stretch and tear
quicker and will obviously be painful. It's also a bad idea to
buy shoes on the basis that you will grow into them. Shoes that
are too small hinder your ability to perfect positions and again
will wear improperly.
Let Them Air Out: Letting your Pointe shoes dry is
imperative to their long life. Moisture that builds up in your
shoe will cause a quicker deterioration. Not letting your shoes
dry out appropriately can also cause them to take on a foul
odor. In order to make sure your shoes dry out after use, remove
any lamb wool or other inserts from your shoe and let them rest
in a warm dry place. Never store your Pointe shoes in a bag for
an extended period of time after wearing them.
Take Proactive Steps to Preserve Your Shoes:
Preparing your Pointe shoes before wearing them is another great
way to extend their life. Many dancers suggest darning the point
of your Pointe shoes to help cut down on the fraying that may
occur from average wear and tear. After darning the shoes with
thread and needle, you can also apply a thin layer of shellac to
help reinforce the material around the tip.
Alternate the Left and Right Shoes: If it's possible,
you should alternate your Pointe shoes. If your shoes are the
same size on each foot and there is little difference between
your right and left, you may want to consider alternating your
shoes between feet. Label one shoe left and one shoe right and
alternate on a daily or weekly basis. This will help keep wear
equal on both sides. If you're particularly rough on your right
foot, you will be able to prevent wear that results from a
dominant foot.
Use Alternating Pairs: If it's at all possible try to
invest in a second pair of point shoes. A second pair of shoes
will allow you to alternate pairs. Some people would assume you
would save one pair for say performances and one for practice
but that's really not a great idea. If you don't wear your
performance shoes in you may be in for a painful and less then
desirable performance.
About the author:
Get everything you need including Pointe shoes and
Kix. Just for Kix is your one stop shop for all your
cheerleading and dancing needs. You can also find quality
prices
Article:
Getting your first pair of Pointe shoes is a very excited part
of your dancing career. While they may be slightly uncomfortable
at first, your new shoes will eventually wear and become fitted
to your foot and its characteristics. To make sure you get the
most of your Point shoes once you've broken them in, you will
need to take special care of them. Here are some excellent ways
to help extend the life of these ballet necessities.
Get the Right Fit: Wearing the appropriate size
will help you dance better, safer, and ultimately longer. Shoes
that fit improperly will be exposed to wear and tear that is not
necessarily normal for a usual shoe. While most materials will
stretch over extended use, never buy a Pointe shoe with the
belief that it will stretch substantially. Clearly if you're
Pointe shoes are too small they will eventually stretch and tear
quicker and will obviously be painful. It's also a bad idea to
buy shoes on the basis that you will grow into them. Shoes that
are too small hinder your ability to perfect positions and again
will wear improperly.
imperative to their long life. Moisture that builds up in your
shoe will cause a quicker deterioration. Not letting your shoes
dry out appropriately can also cause them to take on a foul
odor. In order to make sure your shoes dry out after use, remove
any lamb wool or other inserts from your shoe and let them rest
in a warm dry place. Never store your Pointe shoes in a bag for
an extended period of time after wearing them.
Preparing your Pointe shoes before wearing them is another great
way to extend their life. Many dancers suggest darning the point
of your Pointe shoes to help cut down on the fraying that may
occur from average wear and tear. After darning the shoes with
thread and needle, you can also apply a thin layer of shellac to
help reinforce the material around the tip.
you should alternate your Pointe shoes. If your shoes are the
same size on each foot and there is little difference between
your right and left, you may want to consider alternating your
shoes between feet. Label one shoe left and one shoe right and
alternate on a daily or weekly basis. This will help keep wear
equal on both sides. If you're particularly rough on your right
foot, you will be able to prevent wear that results from a
dominant foot.
invest in a second pair of point shoes. A second pair of shoes
will allow you to alternate pairs. Some people would assume you
would save one pair for say performances and one for practice
but that's really not a great idea. If you don't wear your
performance shoes in you may be in for a painful and less then
desirable performance.
About the author:
Get everything you need including Pointe shoes and
Kix. Just for Kix is your one stop shop for all your
cheerleading and dancing needs. You can also find quality
prices
Wednesday, November 7, 2007
The Best Ballet Wear in Ballet Shoes and Pointe Shoes
Author: Dianne M. Buxton
Article:
Traditional ballet teachers can seem fussy about the dress code
in their studios. There is a reason for this.
When a teacher is looking over a class in motion, visual clutter
needs to be at a minimum. Black leotards and pink tights are a
good uniform landscape for the teacher.
The black of the leotard emphasizes the line of the posture, the
upper back and neck suppleness/tension, the hip/leg break and
alignment correctness, and makes it easiest to respond to what
is seen with ongoing and detailed corrections.
For instance, it is easy to see, even across a large studio, if
the back of the thigh is not pulled up as needed, if the dancer
is wearing pink tights. The line of the muscles is hidden in
dark tights. It is also easy to see bulky tension in thigh
muscles that should be more elongated.
Distractions such as multi-colored clothing, and sloppy leg
warmers prevent the teacher from being at their top efficiency,
Just like office folk get to wear more casual clothes to work on
Fridays, my student-day classes were allowed to wear colored
leotards and black tights on Saturdays. We pushed it, and came
to class with bright leg warmers, print head bands and jewelry
just bigger than the allowed tiny stud pierced earrings. We were
always asked to remove the tiniest of neck chains.
Of course there were always cold winter days when sweaters and
body-length woolies were necessary. And it's not like a teacher
can't see plain bad placement through all that, but finer
details are hidden.
The artistry of ballet depends on the ultra-perfectionistic and
over-idealized form being sought, and then being surrendered to
an allowing energy flow, that releases expression and drama.
I wish I could say that a better, but all I'm really talking
about is that the norm for strict ballet wear that any ballet
store provides, ultimately supports the best results for ballet
exercises, ballet for weight loss, ballet strengthening
regimens, pointe work et al, as it allows the teacher to see
what's going on in a large class full of diverse talent.
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum,diet and health for dancers,DVD's and
more.
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum,diet and health for dancers,DVD's and
more.
Article:
Traditional ballet teachers can seem fussy about the dress code
in their studios. There is a reason for this.
When a teacher is looking over a class in motion, visual clutter
needs to be at a minimum. Black leotards and pink tights are a
good uniform landscape for the teacher.
The black of the leotard emphasizes the line of the posture, the
upper back and neck suppleness/tension, the hip/leg break and
alignment correctness, and makes it easiest to respond to what
is seen with ongoing and detailed corrections.
For instance, it is easy to see, even across a large studio, if
the back of the thigh is not pulled up as needed, if the dancer
is wearing pink tights. The line of the muscles is hidden in
dark tights. It is also easy to see bulky tension in thigh
muscles that should be more elongated.
Distractions such as multi-colored clothing, and sloppy leg
warmers prevent the teacher from being at their top efficiency,
Just like office folk get to wear more casual clothes to work on
Fridays, my student-day classes were allowed to wear colored
leotards and black tights on Saturdays. We pushed it, and came
to class with bright leg warmers, print head bands and jewelry
just bigger than the allowed tiny stud pierced earrings. We were
always asked to remove the tiniest of neck chains.
Of course there were always cold winter days when sweaters and
body-length woolies were necessary. And it's not like a teacher
can't see plain bad placement through all that, but finer
details are hidden.
The artistry of ballet depends on the ultra-perfectionistic and
over-idealized form being sought, and then being surrendered to
an allowing energy flow, that releases expression and drama.
I wish I could say that a better, but all I'm really talking
about is that the norm for strict ballet wear that any ballet
store provides, ultimately supports the best results for ballet
exercises, ballet for weight loss, ballet strengthening
regimens, pointe work et al, as it allows the teacher to see
what's going on in a large class full of diverse talent.
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum,diet and health for dancers,DVD's and
more.
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum,diet and health for dancers,DVD's and
more.
Monday, November 5, 2007
Ballet for Weight Loss
Author: Dianne M. Buxton
Article:
There are people who choose ballet for weight loss. I think
swimming still comes in first for calories-burnt-per-minute.
Ballet is a lot harder to do for many reasons. Some of those
translate into calorie burning, and some don't.
Ballet is an art. It engages the spirit, mind and body. I'm not
expecting that many swimmers don't experience the same thing,
but I'm speaking about it as a performing art, and an art that
requires soulfulness for an audience to want to watch. No
offence to swimmers.
Ballet is resistance training. You are using your body weight,
bench pressing with every plie, every fondu, every releve and
every jump. The ramifications for bone density and growth (if
you're still growing) are significant.
Resistance creates strength. Pushing into the floor for every
tendu, degage, grande battment and jump using any sliding
motion, is resistance.
Wearing pointe shoes at the barre, is resistance.
Doing a series of changement from a grande plie, as is taught in
some boys' classes, is resistance.
In a Cecchetti adagio, pirouettes are done from a grande plie,
that's using resistance.
A dancer weighing 110 pounds burns 63 calories every 15 minutes
in a ballet class. That's 360+ calories in an hour and a half.
So if you are trying to lose fat, or maintain your current
weight, and you do a ballet class three times a week, you must
eat 360 calories less on the days you don't do a class, unless
there is other exercise that would compensate for that.
Walking 3000 steps burns very few calories - yet takes at least
23-25 minutes. Depending on your weight, you will burn 25-35
calories. Easier not to eat them! And yet, walking has other
fantastic benefits.
Edgar Cayce said "The exercises that work are the ones that you
do".
So whatever your choice of exercise, enjoy it, eat well, get
exactly the right fit in your ballet shoes and pointe shoes at
the ballet store, and feed your soul at the theater when your
favorite ballet company is in town!
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum,diet and health for dancers,DVD's and
more.
Article:
There are people who choose ballet for weight loss. I think
swimming still comes in first for calories-burnt-per-minute.
Ballet is a lot harder to do for many reasons. Some of those
translate into calorie burning, and some don't.
Ballet is an art. It engages the spirit, mind and body. I'm not
expecting that many swimmers don't experience the same thing,
but I'm speaking about it as a performing art, and an art that
requires soulfulness for an audience to want to watch. No
offence to swimmers.
Ballet is resistance training. You are using your body weight,
bench pressing with every plie, every fondu, every releve and
every jump. The ramifications for bone density and growth (if
you're still growing) are significant.
Resistance creates strength. Pushing into the floor for every
tendu, degage, grande battment and jump using any sliding
motion, is resistance.
Wearing pointe shoes at the barre, is resistance.
Doing a series of changement from a grande plie, as is taught in
some boys' classes, is resistance.
In a Cecchetti adagio, pirouettes are done from a grande plie,
that's using resistance.
A dancer weighing 110 pounds burns 63 calories every 15 minutes
in a ballet class. That's 360+ calories in an hour and a half.
So if you are trying to lose fat, or maintain your current
weight, and you do a ballet class three times a week, you must
eat 360 calories less on the days you don't do a class, unless
there is other exercise that would compensate for that.
Walking 3000 steps burns very few calories - yet takes at least
23-25 minutes. Depending on your weight, you will burn 25-35
calories. Easier not to eat them! And yet, walking has other
fantastic benefits.
Edgar Cayce said "The exercises that work are the ones that you
do".
So whatever your choice of exercise, enjoy it, eat well, get
exactly the right fit in your ballet shoes and pointe shoes at
the ballet store, and feed your soul at the theater when your
favorite ballet company is in town!
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum,diet and health for dancers,DVD's and
more.
Friday, November 2, 2007
Recovering From Injuries in Ballet Shoes and Pointe Shoes
Author: Dianne M. Buxton
Article:
"Often ballet teachers find the specifics of training the foot
strength needed for pointe work difficult as it came naturally
to them. However for many people, the isolated strength needed
in the feet must be specifically trained, especially nowadays,
as many children who grow up in cities spend little time bare
foot on different surfaces, which naturally trains the tiny
intrinsic muscles of the feet. Understanding how these muscles
should work when dancing is imperative in a long, injury free,
career in dance." - Lisa Howell
In addition to intrinsic muscle weakness, the foot and ankle can
suffer other injuries. Floors built on concrete are a source of
injury, even for dancers who are taught to "come down through
the foot". This technique helps, but does not fully compensate
for hard flooring.
Any repetitive motion can lead to injury.
Some ankles and achilles tendons will build up soft tissue mass
or calcified masses from pointe shoe ribbons being tied tight. I
won't say "too tight" because dancers tie them tight as needed.
Some ankles won't like the repetitive releves and jumps required
by dancing and will build up some type of tissue resistance at
the front of the ankles. This extra tissue will cause disruption
to the movements, or pain, or both.
ANY incorrect technique such as rolling ankles, turning out the
foot more than the leg (a requirement in ballet), too short
pointe shoes, too narrow pointe shoes, insecure
demi-plies,(heels not on the floor, leading to sliding heels too
far forward, usually, resulting in tense ankles, tibial muscles
[ shin splints]), - and you go up the body from there, straining
knees, hips, low back, raising shoulders, straining neck,
clenching jaw, locking cranial bones, headaches - need I say
more?
However, the human body can repair its tissues, especially with
the help of good nutrition. Whole food supplements for collagen,
ligaments, and muscle can be added to the diet. After a
fracture, raw veal bone meal and correct calcium supplements can
speed healing greatly.
An excellent topical ointment called Traumeel can help soft
tissues heal.
Icing and diet can assuage inflammation. No one is "stuck with"
an injury. All athletes have the internet to refer to, to add to
what their own doctors, chiropractors and physiotherapists tell
them about injuries.
Ballet is very competitive. If you get an injury, don't become
panic stricken. The next exam or performance does not matter as
much as all the years that come after that.
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum, diet and health for dancers,DVD's and
more.
Article:
"Often ballet teachers find the specifics of training the foot
strength needed for pointe work difficult as it came naturally
to them. However for many people, the isolated strength needed
in the feet must be specifically trained, especially nowadays,
as many children who grow up in cities spend little time bare
foot on different surfaces, which naturally trains the tiny
intrinsic muscles of the feet. Understanding how these muscles
should work when dancing is imperative in a long, injury free,
career in dance." - Lisa Howell
In addition to intrinsic muscle weakness, the foot and ankle can
suffer other injuries. Floors built on concrete are a source of
injury, even for dancers who are taught to "come down through
the foot". This technique helps, but does not fully compensate
for hard flooring.
Any repetitive motion can lead to injury.
Some ankles and achilles tendons will build up soft tissue mass
or calcified masses from pointe shoe ribbons being tied tight. I
won't say "too tight" because dancers tie them tight as needed.
Some ankles won't like the repetitive releves and jumps required
by dancing and will build up some type of tissue resistance at
the front of the ankles. This extra tissue will cause disruption
to the movements, or pain, or both.
ANY incorrect technique such as rolling ankles, turning out the
foot more than the leg (a requirement in ballet), too short
pointe shoes, too narrow pointe shoes, insecure
demi-plies,(heels not on the floor, leading to sliding heels too
far forward, usually, resulting in tense ankles, tibial muscles
[ shin splints]), - and you go up the body from there, straining
knees, hips, low back, raising shoulders, straining neck,
clenching jaw, locking cranial bones, headaches - need I say
more?
However, the human body can repair its tissues, especially with
the help of good nutrition. Whole food supplements for collagen,
ligaments, and muscle can be added to the diet. After a
fracture, raw veal bone meal and correct calcium supplements can
speed healing greatly.
An excellent topical ointment called Traumeel can help soft
tissues heal.
Icing and diet can assuage inflammation. No one is "stuck with"
an injury. All athletes have the internet to refer to, to add to
what their own doctors, chiropractors and physiotherapists tell
them about injuries.
Ballet is very competitive. If you get an injury, don't become
panic stricken. The next exam or performance does not matter as
much as all the years that come after that.
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, ballet forum, diet and health for dancers,DVD's and
more.
Monday, October 15, 2007
To Dance or Not To Dance - In Pointe Shoes Or....
Author: Dianne M. Buxton
Article:
Students often used to ask me "should I pursue dance as a
career?" My first thought was always - "if you can live without
dance, do something else. If you can't, then pursue it".
Sometimes Dance just doesn't let go! It may not be the practical
choice for you. Yet it just doesn't go away.
If you're young, I would say dance now, because it is a physical
training that needs to be done while you're young. Especially
ballet. That doesn't mean flunk high school or anything, but I
know that grades can be re-created at a community college, and
an academic career can ensue from there. However, the physical
ability that a younger person has is not there later.
What is your real goal? It is good to take time and define your
goals.
***To qualify for a 4 year dance department university that
could lead to a professional performance career?
***To "run away and join the dance circus"? Talk to your
teacher, or your parent, tell someone you can confide in, that
you are having a hard time living without dance. Maybe you can
take a class or two a week in your last year of high school and
still get fair grades. Maybe you can schedule it into an
education degree if you are in college.
Defining goals is not easy - adults have trouble with it all the
time. Try to ascertain what your true physical capacity is.
Dance is a muse and does not just go away. I know that sounds a
little spooky, but that is a fact.
Like, if you know anyone who is studying cello or piano, for a
career with a classical orchestra - it's the same thing. There
is no balance, as balance is usually defined in our culture
("some of this and some of that") That sounds scary to some
people. But it just is that way with the arts.
I hope this doesn't sound too abstract - it's just that dance is
one of the soul level "spirits" that calls some of us. It may
take you in any direction - it's hard to ignore. It will make
sense...one day...just explore all your options.
For more inspiration in books, DVDs, and articles, go
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, diet and health for dancers,DVD's and more.
Article:
Students often used to ask me "should I pursue dance as a
career?" My first thought was always - "if you can live without
dance, do something else. If you can't, then pursue it".
Sometimes Dance just doesn't let go! It may not be the practical
choice for you. Yet it just doesn't go away.
If you're young, I would say dance now, because it is a physical
training that needs to be done while you're young. Especially
ballet. That doesn't mean flunk high school or anything, but I
know that grades can be re-created at a community college, and
an academic career can ensue from there. However, the physical
ability that a younger person has is not there later.
What is your real goal? It is good to take time and define your
goals.
***To qualify for a 4 year dance department university that
could lead to a professional performance career?
***To "run away and join the dance circus"? Talk to your
teacher, or your parent, tell someone you can confide in, that
you are having a hard time living without dance. Maybe you can
take a class or two a week in your last year of high school and
still get fair grades. Maybe you can schedule it into an
education degree if you are in college.
Defining goals is not easy - adults have trouble with it all the
time. Try to ascertain what your true physical capacity is.
Dance is a muse and does not just go away. I know that sounds a
little spooky, but that is a fact.
Like, if you know anyone who is studying cello or piano, for a
career with a classical orchestra - it's the same thing. There
is no balance, as balance is usually defined in our culture
("some of this and some of that") That sounds scary to some
people. But it just is that way with the arts.
I hope this doesn't sound too abstract - it's just that dance is
one of the soul level "spirits" that calls some of us. It may
take you in any direction - it's hard to ignore. It will make
sense...one day...just explore all your options.
For more inspiration in books, DVDs, and articles, go
About the author:
Dianne M. Buxton is a graduate of the National Ballet School of
Canada. She taught at, and choreographed for The National Ballet
School, York University, and George Brown College, in Canada,
and taught at Harvard University in the U.S.
shoes, pointe shoes, strengthening exercises, dance news, dance
books, diet and health for dancers,DVD's and more.
Tuesday, October 9, 2007
So You Think You Can Dance?
Author: Leanne Kemp
Article:
Move your body, move your feet. Sway and swing and samba. They
say to Tango, Salsa or Rumba is to escape the confines of the
chaotic world. Emerse yourself into the world of soul, romance,
emotion and drama. There's a dance type to suit all interests,
including swing, latin, tap, ballroom and belly dancing. Not
only is it fun and enjoyable, its great for your fitness levels
aswell.
It is not possible to say exactly when dance became a part of
our cultural history but it has definitely played a large role
in ceremonies, rituals and entertainment. Dance has been used
for centuries as a form of expression and story telling. Even
before the written language, dance was used to pass down myths
and stories through generations. Many people believe that dance
can only be achieved with a combination of music and movement.
Not all dance types require music as some people believe that
they "dance to their own rhythm".
There are many types of dance available. Lessons for many types
of dance styles are available. Some people even choose to learn
a certain dance type as a form of fitness and for social
interaction. It's a great way to meet others with similar
interest. There are no restrictions on who can join, if you can
walk and run, you can dance. Some of the more popular types of
dance are;
The history of swing dates back to the 1920's, where the black
community, while dancing to contemporary Jazz music, discovered
the Charleston and the Lindy Hop. In the late 1930's and through
the 1940's, the terms Lindy Hop, Jitterbug, Lindy, and Swing
were used interchangeably by the news media to describe the same
style of dancing taking place on the streets, in the night
clubs, in contests, and in the movies.There are many types of
swing dance available with each region or area boasting its own
type of Swing Dance. To name just a few types;
Ballroom West Coast Swing; A style of swing popular in the
ballroom dance school organizations and different from the style
performed in the California night clubs and Swing dance clubs.
Savoy Swing; A style of Swing popular in the New York Savoy
Ballroom in the 30's and 40's originally danced to Swing music.
The Savoy style of swing is a very fast, jumpy, casual-looking
style of dancing
West Coast Swing; A style of Swing emphasizing nimble feet
popular in California night clubs in the 30's and 40's and voted
the California State Dance in 1989.
The Mambo was born in 1943 after the fusion of Swing and Cuban
Music. The original Mambo dance was a lot different to what we
see today as it was toned down due to the violent acrobatics
that were performed. After its first birth onto the dance
floors, the Mambo craze did not last long and today the Mambo is
much limited to advanced dancers. Teachers agreed that this is
one of the most difficult of dances. One of the greatest
contributions of the Mambo is that it led to the development of
the Cha-Cha and the authentic night-club style of mambo dancing,
which in the 1990's is increasingly known as Salsa.
The Salsa is a mix of many Latin and Afro-Caribbean dances with
each playing a large role of the Salsa evolution. Salsa is
similar to Mambo in that both have a pattern of six steps danced
over eight counts of music. The dances share many of the same
moves. In Salsa, turns have become an important feature, so the
overall look and feel are quite different form those of Mambo.
Mambo moves generally forward and backward, whereas, Salsa has
more of a side to side feel.
The correct name for belly dancing is actually "Oriental Dance"?
The Arabic name for it is raqs sharqi, which means "dance of the
East/Orient", and the Turkish name is Oryantal. For centuries,
the role of Oriental dance in Middle Eastern society has been
that of a folk dance that people would do at joyous occasions
such as weddings, the birth of a child, community festivals, and
other events that bring people together to party. It was a dance
that men, women, and children did for fun, not a "performance"
done to entertain an audience.
There are many other types of dancing, such as, Break Dancing,
Disco, Hip Hop, Ballet, Ballroom, Tango, Flamenco, Foxtrot,
Jazz, Merenque, Polka, Rumba, Samba, Twist, Waltz, etc just to
name a few. Why not try one today, you never know, you may just
love it.
About the author:
Leanne Kemp is the Managing Director for href="http://www.wotaboutme.com.au/">Wotaboutme. Look online
to find a day spa, haircut, aromatherapy massage anywhere in
Australia. Perfect for gifts for him or gifts for her. For
updates, check out the href="http://www.wotaboutme.blogspot.com/">Wotaboutme Blog
Article:
Move your body, move your feet. Sway and swing and samba. They
say to Tango, Salsa or Rumba is to escape the confines of the
chaotic world. Emerse yourself into the world of soul, romance,
emotion and drama. There's a dance type to suit all interests,
including swing, latin, tap, ballroom and belly dancing. Not
only is it fun and enjoyable, its great for your fitness levels
aswell.
It is not possible to say exactly when dance became a part of
our cultural history but it has definitely played a large role
in ceremonies, rituals and entertainment. Dance has been used
for centuries as a form of expression and story telling. Even
before the written language, dance was used to pass down myths
and stories through generations. Many people believe that dance
can only be achieved with a combination of music and movement.
Not all dance types require music as some people believe that
they "dance to their own rhythm".
There are many types of dance available. Lessons for many types
of dance styles are available. Some people even choose to learn
a certain dance type as a form of fitness and for social
interaction. It's a great way to meet others with similar
interest. There are no restrictions on who can join, if you can
walk and run, you can dance. Some of the more popular types of
dance are;
The history of swing dates back to the 1920's, where the black
community, while dancing to contemporary Jazz music, discovered
the Charleston and the Lindy Hop. In the late 1930's and through
the 1940's, the terms Lindy Hop, Jitterbug, Lindy, and Swing
were used interchangeably by the news media to describe the same
style of dancing taking place on the streets, in the night
clubs, in contests, and in the movies.There are many types of
swing dance available with each region or area boasting its own
type of Swing Dance. To name just a few types;
Ballroom West Coast Swing; A style of swing popular in the
ballroom dance school organizations and different from the style
performed in the California night clubs and Swing dance clubs.
Savoy Swing; A style of Swing popular in the New York Savoy
Ballroom in the 30's and 40's originally danced to Swing music.
The Savoy style of swing is a very fast, jumpy, casual-looking
style of dancing
West Coast Swing; A style of Swing emphasizing nimble feet
popular in California night clubs in the 30's and 40's and voted
the California State Dance in 1989.
The Mambo was born in 1943 after the fusion of Swing and Cuban
Music. The original Mambo dance was a lot different to what we
see today as it was toned down due to the violent acrobatics
that were performed. After its first birth onto the dance
floors, the Mambo craze did not last long and today the Mambo is
much limited to advanced dancers. Teachers agreed that this is
one of the most difficult of dances. One of the greatest
contributions of the Mambo is that it led to the development of
the Cha-Cha and the authentic night-club style of mambo dancing,
which in the 1990's is increasingly known as Salsa.
The Salsa is a mix of many Latin and Afro-Caribbean dances with
each playing a large role of the Salsa evolution. Salsa is
similar to Mambo in that both have a pattern of six steps danced
over eight counts of music. The dances share many of the same
moves. In Salsa, turns have become an important feature, so the
overall look and feel are quite different form those of Mambo.
Mambo moves generally forward and backward, whereas, Salsa has
more of a side to side feel.
The correct name for belly dancing is actually "Oriental Dance"?
The Arabic name for it is raqs sharqi, which means "dance of the
East/Orient", and the Turkish name is Oryantal. For centuries,
the role of Oriental dance in Middle Eastern society has been
that of a folk dance that people would do at joyous occasions
such as weddings, the birth of a child, community festivals, and
other events that bring people together to party. It was a dance
that men, women, and children did for fun, not a "performance"
done to entertain an audience.
There are many other types of dancing, such as, Break Dancing,
Disco, Hip Hop, Ballet, Ballroom, Tango, Flamenco, Foxtrot,
Jazz, Merenque, Polka, Rumba, Samba, Twist, Waltz, etc just to
name a few. Why not try one today, you never know, you may just
love it.
About the author:
Leanne Kemp is the Managing Director for href="http://www.wotaboutme.com.au/">Wotaboutme. Look online
to find a day spa, haircut, aromatherapy massage anywhere in
Australia. Perfect for gifts for him or gifts for her. For
updates, check out the href="http://www.wotaboutme.blogspot.com/">Wotaboutme Blog
Friday, September 28, 2007
Thursday, September 6, 2007
Looking for Ballet Shoes?
Looking for ballet shoes? It can be hard trying to find the best ballet shoes without breaking your budget, not to mention having to buy brand new ones from the ballet teacher can get pricy. I know. I am a mom myself now and I was in dance since I was about 5 years old and know how much my mother had to spend on me.
Now It's my daughters turn for the spotlight and so I had to do some research to find the best ballet stuff that I COULD AFFORD.
I have found a place you can find everything you will need for dancing, without emptying your wallet and though I would share it with you. Just click here.
Now It's my daughters turn for the spotlight and so I had to do some research to find the best ballet stuff that I COULD AFFORD.
I have found a place you can find everything you will need for dancing, without emptying your wallet and though I would share it with you. Just click here.
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