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BALLET GENERICS
Schools of Ballet:
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Schools, Methods, Systems:
Within the umbrella of Professional Prep there are "Schools" of ballet. These are more methods of teaching than schools located in a specific place. These methods have been passed down from one teacher to another. There is the Royal Academy of Dance (RAD), Checcetti Method, Italian School, French School, Vaganova System, that are taught all over the world. When a Life Long instructor is asked what "method", he or she is most likely to reply "eclectic."
The "Eclectic" is one who has taken from, observed, studied with many teachers, many schools, attended many master classes and workshops. The "eclectic" uses some of this and some of that, mixing it all together to offer a unique teaching style and often produces a unique form of ballet dancing. This is exciting for the Life Long dancer seeking to express his or her individuality, and a bit frustrating to the Professional Ballet Company instructor attempting to get all dancers moving as one with every finger held at the exact same angle. Maria Dare was a good example of "eclectic." When I was a high school student attending her Pro. Prep classes it was very similar to the Russian/Vaganova style. When I took my youth filled intermediate students to her for a guest class, she would pull out combinations that I had not seen her use before. I would ask her the source and she would reply "Oh that was a Checcetti." or "That was French School." But when she taught her Adult Ballet classes, it was a flowing mix of all that could not be identified as "Checcetti, or "English" or "French." It was Maria Dare Style. It was unique.
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BALLET GENERICS
Professional Preparation,
Life Long Health & Beauty,
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Regardless of age or experience, a decision must be made about why one should take (or continue) ballet lessons. Is the dream performing in a professional company? Is the desire a full and healthy life filled with beauty? If the goal is performing in a company then there is a highly structured method of producing professional ballerinas. In these pages, this method is referred to as "Professional Preparation" or "Pro.Prep". If the goal is health and fitness, then the method is referred to as "Life Long" in these pages. One is no better than the other. "Life Long" is not an excuse for bad technique or laziness. Both require dedication and commitment. All teachers must help students understand the difference for a student cannot participate in a Life Long program and expect to enter a professional company. A student with no desire to join a professional company, may be needlessly deprived of time, needlessly limit access to other enriching activities.
Both Life Long and Pro.Prep begin the same way with one class per week, learning the basics of ballet. Both advance through developing quality technique. There are differences in program structure. The beginner must be helped to realistically define goals and select the path that is right for the student. All too many think that attending class sporadically is the path to life long health and beauty, or that the path to performing is a couple classes a week between football games. This is not the path to either Pro.Prep or Life Long.
Professional Preparation Structure:
The process for developing professional ballet dancers has been around for centuries. It begins at age 6-7. Level 1 (Beginning) one class per week. Level 2: two classes per week, Level 3: three classes per week. Level 4: four classes per week, Level 5: five classes per week. Pointe shoes arrive after Level 3 and after age 10. Teen years are spent in intensive summer workshops and by age 16-18 the dancer is ready to perform. Age 18-21 the dancer is ready to join a professional company. If the dancer has not made it to the pro's by age 25 the career is over before it began.
Life Long Health and Beauty Structure:
Life Long Health and Beauty has no such rigid formula. A dancer may start at any time. As long as pleasure is derived from sweat, the dance continues. Preschool ballet and Adult ballet classes belong to the realm of Life Long, not Profession Prep. For Life Long health, a dancer can have other priorities. This does not mean that the dancer can attend class sporadically. A dancer can take twice a week and maintain a healthy, strong, flexible body. At three classes a week, a dancer can make progress. Skip a week and the strength and flexibility slips away. Life Long dancers can get pointe shoes after bones in feet are hard enough, muscles are developed and good technique has become a habit. Normally this occurs after age 10 and while taking three or more classes per week. (Dancers who begin pointe work after age 20 seem to have a bit more of a challenge getting up on pointe. Perhaps because bones in feet have become too hard, too set in their ways of moving.) Life long fitness dancers have opportunities to perform in community events and local productions, but should not expect to see their pictures on the cover of Dance Magazine, or get a hand written invitation to join New York City Ballet Company.
Adult Ballet Dancers in Life Long Health and Beauty:
I received an email from a woman in her twenties. She contacted a ballet teacher and said she wanted to begin ballet lessons. The teacher laughed at her (most likely a Prof. Prep. teacher). My advise to the woman was to contact another teacher, and keep contacting teachers until she found the right teacher. A couple weeks later the woman emailed me again saying that the 2nd teacher she contacted was great and the woman had taken her first ballet class and loved it.
There are many more Adult Ballet Dancers than the public thinks. This is because most do not perform. No performance, no public visibility. Few Life Long Fitness adults perform because they have chosen a life with other priorities (work, family) and this makes it difficult to find the time to polish up a performance. Older adult dancers face the problem of keeping muscles warmed up well enough to do a great performance. Back stages are drafty places and thin ballerina costumes offer little protection. The warm-up barre taken before climbing into the costume gets lost in the draft. One day I will develop a beautiful flowing costume that fits over something like a surfer's wet suit and then the public will be amazed at how well 80 year olds perform on the stage.
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Class Goals:
Many think that the goal of a ballet class is to learn ballet steps, or a ballet dance. The purpose of every class is to improve the body's ability to move by increasing strength, flexibility, precision. Few ballet instructors use these terms, they just lump it together and call it "technique." Every class also challenges the student's brain. The student learns how to remember, multi-task, and cue movements to music. Students develop a senses of awareness that lets them know exactly how close or far away they are from the other dancers, while listening in on their own body cues about what muscles are being used and not used. Beyond this there are goals that are level specific. While accomplishing the above, a student will learn ballet steps and positions. Once ballet steps and positions are learned, a student will learn to bunch them together and that is called a ballet combination. Several combinations grouped together is a ballet dance. Several dances group together (that communicate a story) are called a Ballet. Please don't get so hung up on learning ballet steps that you forget the purpose of the class.
A Few Level Specific Goals:
Preschool: What is ballet? (Please define it as something more than a performance.)
What is a class? (Please define it as something more than a social event.)
Preschool ages are especially sensitive for they are learning what is a teacher and how do teachers differ from Mommy and Daddy. They are also learning how to learn. These lessons will influence their approach to all future classes. Thus the teaching of pre-school classes is an awesome task and should not be taken lightly or tossed off to the most inexperienced teacher on the staff.
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BALLET GENERICS
Class Structure:
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Class Structure:
All ballet classes have the same structure. Class begins with Barre (the warm-up) then Center (exercises performed in the center of the studio facing the mirror) then Cross Floor work (exercises moving across the floor, from one side of the studio to the other)and ends with Reverance (a bow.) Many instructors interject exercises performed while lying down on the floor, and many place a set of cool down exercises prior to the Reverance.
Class Length & Frequency:
The following are suggestions based on personal experience and knowledge of how the body works. For Toddler & Preschool ballet classes follow the guidelines listed under "Ages 3-5." Adult Ballet actually refers to persons well over the age of 21. The age 17-21 bracket are included with the over 21's because someone beginning ballet at age 17 will not find a place in the Prof. Prep. structure. The body of the 17-21 is not by any means "over the hill," and should go for the maximum lengths and frequencies recommended rather than the minimums. Barre work length is listed because warm-up is a critical factor in injury avoidance. Youth are always on the move - it's hard to get them to stand still. As a result, youth are warmed up before the warm-up begins. As the ability to concentrate develops so does the ability to stand still and as a result the body is not warmed up before the warm-up. The length of time it takes to get muscles warmed up increases with age. It must also be noted that one class per week is recommended for beginners regardless of age, or path. This is because the goal is to teach basic technique, not develop strength or flexibility. Never try to increase strength and flexibility before understanding the basics of body alignment, turn-out, etc. Once alignment is in place, then the body is free to move and develop in the right direction. Before the alignment is in place, the body will develop in the wrong direction. Age makes a difference in how long it will take the student to figure out what correct alignment is all about. The 10 year old will be ready for 2 classes per week much sooner than the 6 year old. Adults vary. For many, good alignment comes naturally and thus can increase to multiple classes per week fast. Others have poor alignment. The longer the body has been out of alignment, the longer it should take to get it into alignment. Small gradual doses of change works best.
| BEGINNERS |
Ages 3-5
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Ages 6-16
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Ages 17-80
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Class Length:
(recommended)
Barre work:
# Classes pr. wk: Pro.Prep
# Classes pr. wk: LifeLong
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30-50 min.
(45 min)
15-20 min.
NA
1
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45-75 min.
(60 min)
25-35 min.
1
1
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60-90 min.
(60-75 min)
30-45 min.
NA
1
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| INTERMEDIATE |
Ages 3-5
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Ages 6-16
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Ages 17-80
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Class Length:
(recommended)
Barre work:
# Classes pr. wk: Pro.Prep
# Classes pr. wk: LifeLong
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50-60 min.
(60 min)
20-25 min
NA
1
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60-120 min.
(60 min)
30-40 min.
2-5
2-3
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60-120 min.
(75-90 min)
40-50 min.
6+
2-4
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| ADVANCED |
Ages 3-5
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Ages 6-16
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Adult 17-80)
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Class Length:
(recommended)
Barre work:
# Classes pr. wk: Pro.Prep
# Classes pr. wk: LifeLong
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60 min.
(60)
30-35 min.
1-2
1-2
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60-120 min.
(90)
35-50 min.
4-6+
3-4
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60-120 min.
(75-90)
40-55 min.
6+
3-4
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BALLET GENERICS
How to pick a Teacher:
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How to Pick The Right Teacher:
As parents we want the best for our children. Ballet is the best or is it? "Any thing strong enough to help is strong enough to hurt." Choosing a good teacher is critical to making ballet helpful, not hurtful. But how to pick a good teacher? Here are some tips.
| Certification: |
There is no generic certification or licensing process for ballet teachers. (and I hope there never will be.) Some schools such as RAD credential their teachers but that only to teaching skills for that method, not for ballet as a whole. |
| Association Membership: |
Seeing an ad that the teacher is a "Member of ... " means a teacher pays dues to an organization nothing more or less. If you have respect for that Association, you may wish to inquire if the teacher takes an active role in the Association or Organization. By "active" I mean attends workshops, holds an office in the organization, corresponds with other members, reads their publications, etc. |
| College Degree: |
Holding a degree in dance in and of itself means little. Pay attention to the name of College or University that issued the degree. Search the internet to see how it ranks. Find out what classes are required. Were college classes all about learning how to dance? Did course work include teaching techniques? Child development classes? Also, remember that most attend college between the ages of 18 and 22. These are the prime years for performing in professional companies and a dancer cannot be in two places at once no matter how good she or he is.
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| Professional Experience: |
Good sign for a student desiring to attend a Professional Prep but possibly bad news for a Life Long student. Also ask some questions such as "What company" "How Long" "Member of Corps or Featured Dancer?" The more companies the teacher has been in. |
Now totally confused?
There are lots of good teachers and then there is the "Right" teacher for you. Once the search has been narrowed to a list of good teachers, the best way to find the "Right" teacher is to take a few classes.
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BALLET GENERICS
Preschool Ballet:
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TO BEGIN
(Toddler - Preschool)
Beginning ballet at age 5 or younger has become popular. This can produce a good dancer or undermine the entire training process.
How Young is Too Young?
For ages under 5, readiness varies greatly from one child to the next. A child must:
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Be able to follow instructions. |
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Be able to listen and try to do as told.
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Have an attention span of more than 15 minutes
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Be potty trained.
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MUST want to dance!
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The best method to determine readiness is to take a class and see what happens. During a first class, the child may seem distracted. Remember the dance studio is a new world, bigger than big. This all new makes some children want to explore. It makes other children want to run and jump. Still others want to hide. In spite of this, a good teacher can get a feeling about the readiness level of the child.
Traditional Ballet training starts at age 6-7 because the body is developed enough to develop technique without causing damage and there is no lag time later on. By lag time, I mean there is a flow of consecutive goals to shoot for. First to learn the basics. Then to learn the tricky stuff. Then to get pointe shoes. When the student begins at age 3-4, there can be lag times. The child has learned the basics but cannot progress to tricky stuff because the body is not adequately developed. The child has learned the tricky stuff, but bones are not hard enough to support pointe work so the goal of getting pointe shoes is years away and a year to a child can feel like a life time.
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WARNING!
Do not let any child on tips of toes without pointe shoes. Raising heel off ground and walking on ball of foot is okay. No child under age 10 should walk on toe tips even with pointe shoes. |
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TEACHER SELECTION
for Pre-School Ballet:
(see also Ballet Generics)
Being a good ballet teacher does not automatically qualify a person as a good Pre-School ballet teacher. One should have classes in child development, solid knowledge of what a 3-5yr old extremely moldable body can do and most of all SHOULD NOT do. Skills in group dynamics is also extremely helpful. Ballet is a powerful tool - strong enough to mold a body, strong enough to help or to hurt. Make sure your teacher understand this. The class will also answer questions for the child, such as, “What is a teacher?” “What is learning?” These answers will shape the child's approach to all future teachers and learning experiences. Make sure the teacher is a match to what you think the answers to these questions should be.
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BALLET FOR PRE-SCHOOL, IT’S DIFFERENT:
Goals for Pre-School Ballet Classes
There is much to be learned in the pre-school ballet class. What is learned is not forgotten. These first lessons lodge deep in the brain's memory and will influence choices and responses to all future classes.
The important lessons to be learned in Pre-School Ballet are:
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What is ballet? |
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What is a ballet class? (Class should include a basic barre, floor, center, cross floor exercises.)
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What are the Ballet basic positions? (Work from 1st, and 2nd as much as possible, use 3rd instead of 5th, and avoid 4th.)
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What are the basic Ballet basic steps? (The ones that repeat with same foot will be learned faster than the ones that alternate the lead foot.)
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What are the basic arm positions? (But stick to 1st & 2nd when child is moving.)
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What are the basic formations? (No need to tell them. Just round'em up and let them chasse in a circle, line, etc.) |
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What is expected while in class? (Pay attention, no talking, gum chewing, etc.)
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How to learn and remember movements.
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How to get teacher's attention. (Actually the lesson to be learned is "What is the correct way to get teacher's attention" for they already know many ways to get attention and most of the ways are disruptive.
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How to improve. |
The pre-school ballet class should follow a standard ballet class format - how else will the child learn what a ballet class is? The class should start with barre, followed by floor and centre work, followed by cross-floor work. Steps and technique must be modified. Little bodies are not yet designed for a perfect turnout - always keep those knees over those toes!!!! Finally the class should never end on a boring note. A shorter class is better than a longer class.
There are "pre-ballet" classes that do not teach the above. There are games, Karaoke singing and pointing of the toes. Such classes have value but are not ballet. I would suggest such classes be re-named to "Voice & Rhythm" class or "Performance Training" class for they offer little content that matches a "ballet" class. When the child graduates from pre-ballet and gets the opportunity to stand at the barre forever then what? I suspect many who have attended the sing-and-pointe-and-be-cute class think "This is not ballet! Give me back my twinkle toe song!"
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WHAT PARENTS CAN DO TO HELP:
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Encourage dance. Play music and let child move to it. |
| 2. |
Take child to as many performances as possible. |
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Find books and videos about dance, especially ones that inspire and share the stories of the classics, and of how hard work pays off. Watch the many videos of the Ballet Classics such as Swan Lake. Skip the cute books showing little kids poorly positioned, in costumes taking ballet classes. |
| 4. |
Visit good dance schools and observe advance dance classes. Many company schools have windows into studios. With advance permission, you can stand in the hall and watch and learn. |
| 5. |
Parents, if you really want to help, take a ballet class or two. Take class with your child. Then you practice at home in front of child and guess what? Child will ask to practice with you. |
| 6. |
Volunteer your time to the studio, or recital. You will learn a lot working side by side with other more experienced dance parents. |
WHAT PARENTS CAN DO TO HURT:
Some of the following may seem ridiculous, but I have had them happen in my studio more than once.
| 1. |
Come to class but instead of watching, talk loudly to the parent sitting next to you. |
| 2. |
Give directions to your child while child is in class. “Pay Attention” and other comments should only be given before and after class. |
| 3. |
Tell the teacher and your friends how awkward and uncoordinated your child is, while your child is standing near, listening. |
| 4. |
Arrive late for class. |
| 5. |
Ask for details about class content, how your child compares to others, at the beginning or during class. (Many instructors are on a tight schedule. The minutes prior to class are mental preparation time for teaching the class.) You should chat with your instructor and get answers to any question you have. Just tell your instructor you have questions and ask for a good time to chat. |
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Since the preschool ballet class is an introduction to ballet classes, students should wear the same gear as regular ballet classes. That means ballet shoes, footed tights, a leotard. Consult your instructor for exact style and colors. If the instructor has no preference than go with the traditional ballet pink tights and black leotard. Department stores may seem to offer the same things for less to the untrained eye. If you are unable to tell the difference between real ballet stuff and junk, go to a dance shop, or ask your instructor before you purchase.
WHAT NOT TO WEAR:
The fewer accessories, the fewer things to play with, to distract other students, and to lose. PLEASE no jewelry in class. A necklace can break from the force of jumping and turning, go flying into the eye of another student or fall on floor where it is tripped over.
No costumes, or tutus, unless requested by the instructor. Costumes are for rehearsals and performances not class. I prefer no little skirts, but if a child insists, I will permit a sheer short skirt, as I need to see as much body alignment as possible, even at this young age.
FAQ: Where can I get some pointe shoes for my 4 year old to play in?
Not from Zandance. Pointe Shoes are not toys. Pointe Shoes are NOT safe for kids. In this age of younger the better thinking, some parents are attempting to purchase pointe shoes for toddlers. BAD IDEA. Human bones are soft in early years, especially bones in feet. No matter how talented a young dancer is, or could be, pointe shoes are not for children ages 0 -9 years of age. Pointe Shoes are not play toys at any age. Pointe Shoes should only be purchased with dance instructor permission and then should only be used in class and at home practicing steps and combinations approved by the dancer's instructor.
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AND NEVER CHEW GUM IN CLASS
(It can be inhaled during rapid activity.) |
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BALLET GENERICS
for Intermediate - Advanced:
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Ballet Info for Intermediate to Advanced Youth
FAQ: I’m Older, should I start at 4 classes per week to catch up?
No! Ballet is powerful. It shapes bodies. If technique is bad, the body is badly shaped. If technique is good the body is correctly shaped. You can make up some time by starting with 2 classes per week, but don't take more than 2 until you get the basics, and the technique firmly implanted in the brain.
FAQ: My Body is Not "The Right Type" for ballet. What should I do?
If you want ballet, take ballet. You will be surprised at how your body will re-shape in just six months of 2 to 3 classes per week. The “wrong type” refers to those desiring a performance career, on the stage, doing classical ballet, 3-5 hours per day, 5 to 6 days per week. If your body really is the “wrong type,” such as an extra bone in foot that prevents pointe work, then there are dancing alternatives. Explore Flamenco, Irish Step, Lyrical Jazz, Modern Dance
FAQ: What should I look for in a teacher?
That depends on what you want from class. If you desire a career, find one who stresses the traditional levels. If you desire to dance just for the love of dance, find one who offers a challenging class. If uncertain, look at the teacher’s body and the advanced dancers bodies. Are muscles misformed” Are they prone to knee and ankle injuries? If yes, then find another teacher. Most of all find a match. What do I mean by that? You’ll know when you find it & keep looking until you do.
FAQ: What should I look for in a studio?
Check out the floor. If concrete, or only a thin layer of something over concrete, go to another studio. A new wood floor can be as hard as concrete. Ask about how the dance floor is constructed. A good studio will have some method of shock absorption built into the floor. (If a wood floor in an old building, usually the aging process has provided the needed spring.)
Next, check the walls. Are the pictures hung on the walls inspiring to you? There is no set rule for number of square feet per student. Some very small studios with too many students per class produce excellent dancers. It depends on the teacher's organizational skills.
FAQ: Why is my teacher always picking on me?
Because she likes you and thinks you can do better. I assure you teachers only pick when there is something to pick. Just try to do what your teacher is telling you to do. If the correction makes no sense then request a private class and in the private see if you can get the instructor to offer more detail or explain the correction in a different way. If that doesn't work try a class or two from other teachers. You may find they all tell you the same thing but in different ways and eventually, one of them will say it in a way that makes sense to you and you will leave saying, "Why didn't anyone tell me that before?"
FAQ: I don't want to be a ballerina. I love other forms of dance, but my teacher says I need ballet. How often should I take?
It depends on what you want. If you just want to please the teach, take once a week. If you want to know about ballet, take twice a week. If you want to develop ballet muscles and ballet skills, do a double pirouette, or jump really high, take 2 times a week until you get the technique, then go to 3 times a week to develop the muscles and skills. In addition, I suggest taking Modern Dance
FAQ: I love to do ballet, but I love other things too. How can I dance well without taking so many classes per week?
You can develop good technique and become an excellent dancer by only taking 2 to 3 classes per week, IF you are consistent in attending classes, and practice at home. BUT, your ability will develop slower, you will not be ready for the pro's by age 18, you risk injury if you try to jump from 2 classes per week to the 3-5 hrs daily of a summer dance camp or a professional company. In other words you can dance and enjoy dancing and enjoy your other activities all your life but you can also kiss good bye any hope of performing with a professional company. You can enjoy performing at civic events, and dance tournaments and competitions. There are many non-professional opportunities to perform in every community.
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Intermediate to Advanced: Time to MAKE A CHOICE:
Ballet can become a career, or a healthy fun thing to do that keeps you in shape. Either choice demands good technique. If you choose career, then make class your life’s first priority. If you don’t choose career, then it’s okay to have other priorities, but don’t get confused. You can’t skip classes for other things and end up in a ballet company. Regardless of choice, if you find yourself in a ballet class, try to do your best and make the corrections that teach suggests. You could be amazed at the results. If it is your life goal to perform in a company then choose Professional Preparation. If your life goals does not fit into the Professional Preparation, then select Life Long Health and Beauty.
PROFESSIONAL PREPARATION FOR BALLET (TRADITIONAL BALLET TRAINING)
| LEVEL 1: |
Begin Age 7, with one ballet class per week The body has developed enough to accept the ballet training, the mind is focused, the attention span long enough, the child has developed enough sense of self to know if ballet is or is not something desirable. |
| LEVEL 2: |
Age 8, take 2 ballet classes per week: There is much to be remembered and twice a week helps the brain develop and organize the information into habits and routines.
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| LEVEL 3: |
Age 9, take 3 ballet classes per week: At 3 classes per week, the training effect kicks in. One should never start training and developing muscles until technical habits are in place.
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| LEVEL 4: |
Age 10 -11, take 4 ballet classes per week: This develops strength and fine tunes everything. Bones are getting hard enough to support pointe work.
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| LEVEL 5: |
Age 11-13, take 5 ballet classes per week. It's pointe shoe time. It's performance time, It's summer dance camp time, |
| LEVEL 6: |
Age 12-16, take 5+ ballet classes per week and add other forms of dance. It's time to get really good at ballet, It's time to get really good a performing, It's time to branch out.
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| LEVEL 7: |
Age 16 – 18: Audition and get accepted to a school of a professional ballet company. You now dance 10 to 20+ hours per week. |
Age 18 – 22: Make the corps of a professional ballet company and start climbing the later. Enjoy dancing 3 to 5 hours a day 5 days a week.
Age 20 – 25: Enjoy your performance career. Begin preparation for retirement and a new line of work. Teaching ballet perhaps
FAQ: How does college fit into the traditional ballet preparation?
It doesn't. The tradition developed before today's college system developed. The Joffrey Ballet Company School now offers a college degree. Many colleges and universities offer excellent dance programs. Some have good performance companies. Being accepted to the performance company can open a door to transferring to a professional company, but just having a degree in dance will not open a professional performance door. Be careful. Some colleges have a system where anyone can take dance classes but just taking the classes does not mean you can graduate with a degree in dance, you have to be accepted into the program in order to graduate with a dance degree. If you want to get a dance degree, try to find one that offers classes in how to teach dance. Take child development classes and classes that teach you how to run your own business.
FAQ: How do dance tournaments and competitions fit into the traditional ballet preparation?
They don't. They can be great fun. They can offer stage experience that is most helpful, but are no substitute for the traditional ballet training. This question is similar to asking how do pointe shoes fit into tap shoes.
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BALLET GENERICS
Ballet for Adults:
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BALLET FOR ADULTS, IT’S DIFFERENT:
(See Also Maria Dare Style Adult Ballet in History Section.)
Life goes better when one is healthy, and one is healthier when the body is exercised regularly. The goals for adult classes are different. Youth see class as preparation for performance. For adults, the performance is the class. Physical bodies are different. The adult body is capable of doing anything a young body can do. The key to getting the adult body moving like a teen is in getting muscles warmed up! The older one gets, the longer to warm and the quicker to cool. No time for lengthy chats between exercises. Start moving and keep moving. Over-tights, warm-up pants, help a lot.
WHY SHOULD ADULTS DANCE?
I often feel I have failed my former students and their parents. Every once in a while I bump into one and the first thing asked is, "Are you still dancing?" I reply, "Am I still breathing?"
Ballet deserves special consideration when selecting a method for staying fit and trim.
Ballet provides a structured warm-up (barre) that, when executed properly, warms & exercises the entire body from toes to head. It provides the gradual warming of muscles that is so strongly recommended.
Ballet is more than the exercise of the circulation system, heart and lungs. It provides a mixture of movements designed to strengthen, and increase flexibility of all muscle groups.
Ballet is gradual steady progress. While this is good for the body, it can be frustrating to those who wish to see fast results. If one attends classes regularly, 3 times per week, he/she may not notice improvement from class to class, yet one day, the person suddenly becomes aware of the fact that he/she is able to do something never done before. It is not that the body suddenly responds. The body responds each time with imperceptible gains which eventually add up to a gain big enough for the person to recognize. This gentle gradual fine tuning is the healthiest way to develop physical abilities.
Ballet demands mental focusing on the task at hand. In doing so, the mind must let go of all other thoughts. When class is over, the mind returns to the daily routine, but from a refreshed perspective. Solutions previously overlooked may jump to the forefront.
AM I TOO OLD TO BEGIN BALLET? One can start ballet at any age.
No one is too old to begin ballet. Maria Dare Style has been successful in teaching the first steps of ballet to adults in their 30's, 40's, 50's, 60's. Research has shown that muscles have the ability to lengthen (increase flexibility) on through age 80. So it is never too late to get back in shape. The older one is, the more frequent, and gradual exercise sessions should be. One class a week of ballet is acceptable but only if the person is active on the other 6 days of the week. Take ballet on Monday and being a couch potato the rest of the week will produce no gains. The older one is the more it takes to warm-up and stay warm. Leggings of some sort are strongly recommended. Teachers should not stop the barre to talk, or explain or muscles will cool off.
FAQ: If I begin as an adult, can I get Pointe Shoes?
Many who begin as adults go on to get pointe shoes. Bones in feet are not easily molded, so as an adult, pointe shoes either work for you or they don't. One still needs to start in ballet shoes, learn the basics, develop the muscles, make good technique a habit, before attempting pointe work. One still needs to take 3 classes per week regularly.
Finding The Right Teacher
Many teachers are focused on teaching dances for the stage. Find one that is focused on the class. You need a teacher that enjoys teaching THE dance rather than one that teaches A dance.
What to Wear:
Many teachers will permit sweats to start. Move into ballet cloths as soon as you have the courage to face yourself in the mirror. Good ballet shoes are a must from day one. Leg warmers, warm-ups or a Unitard can provide the extra warmth needed.
Age and Returning:
Many adult ballet dancers have grown up in dance studios. It has become a way of life. Marriage, children, work, home, reduce time for dancing, but to eliminate dance class all together is a mistake. There is energy and vitality waiting in the dance class, waiting to be unlocked. Many adults give up dancing as adult responsibilities mount. Many find it is a big mistake and return to class after being out for years. Many, after the first class, whisper, "I'm too old for this." WRONG. Adult bodies get out of shape quickly but brain does not realize this. It is not age that it getting in the way, it is being out of shape. The return should be taken gently. Gradual and persistent effort over time pays off. The body gets back in shape and once again, dancing become the renewing pleasure of the week. It is possible to dance well at age 50, or 60, or even 70. Warning: As a youth, one could not expect to do the tricky steps well on a one class a week regime. Most adult dancers remember what they could do when they were taking many hours a week. Adults cannot do the tricky steps taking once a week either. If one desires to do the tricky stuff, then take lots of classes, or reduce expectations to a once/twice a week level in the brain.
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Dancing through Health Challenges
When recovering from any form of health challenge, take many small steps rather than one giant leap into physical fitness. We all know that it is a no no to lean on the barre, but if you are physically weak, it's better to lean on the barre at first and then work to gradually release your grip. If standing for an entire barre seems too exhausting, lay down and finish it on the floor. Try to do just a tiny bit more each time before laying down on the floor.
Ballet & Injury Comeback:
Not all adults are a picture of health. Still most are able to do ballet and make progress is careful. Any physical injury should be reported to the instructor. The instructor can advise and modify exercises for the dancer, but the dancer is the one with instantaneous feedback and the dancer must take responsibility for modifying exercises. Be sure to keep muscles twinking at the center not at ends. Never let the energy of the class push you past your limits. It's okay to stop before others.
Pregnancy:
Consult your doctor, but when consulting, remember that many doctors don't understand what adult ballet is all about. It is best to describe what you do in class. Is it ok to bend, stretch, jump, turn, etc. When I was pregnant my doc told me that I should continue doing the things I was doing and not to fall while doing them. That seems wise advise for any normal healthy woman who is pregnant. If you have been dancing, keep dancing. If you have not, then wait until after the babe is born. (If you are diabetic, be extra careful and ask you doctor a lot of questions before participating in ballet or any form of exercise during pregnancy.)
I continued to teach and dance into my 8th month. My 9lb 6oz was born healthy. I only had two problems. 1) no matter how hard I tried, no matter what I said to my students, they all stood like they were pregnant. I could not get them to suck in their tummies that year! 2) Once while demonstrating a combination, just as I started a ponche arabesque, the babe kicked me hard and changed positions. It caught me off guard. To regain balance I somehow flipped around and ended with my leg in front of me instead of in back of me. My students, thinking it was part of the planned combo attempted to do as I did and a couple of them ended up on the floor, but unhurt. One student asked if I could repeat the move for her. I told her I could not and to this day have no idea what I did or how I did it. We all had a good laugh over that one.
Hip, Joint, Back:
Consult your doctor, but when consulting, remember that many doctors don't understand what adult ballet is all about. It is best to describe what you do in class. Is it ok to bend, stretch, jump, turn, etc. I developed instability in my hip, pain in my leg, inability to left one leg to the front above knee level. I went to see a specialist. He informed me that I would need total hip replacement within two years. Meanwhile I should buy a cane, take pain killers and revisit in 6 months. I was devastated. I bought a cane, but refused the pain killers as I wanted to know exactly what I was doing that caused it to hurt. As a result, I realized that at work I was constantly stepping off a mat with the involved leg, in a diagonal direction. At the end of the shift, I could hardly walk. I removed the mat. I changed the step direction (sometimes a pas de basque, sometimes a pas de bourree. I started wearing ergomates (anti-fatigue matting that straps onto shoes.) I continued ballet classes, doing each exercise up to the point of feeling fatigue in the involved leg. The pain began to leave.
At my six month check-up, the doctor could find no serious problem. Instead of hip surgery he recommended exercise to strengthen the muscles. He recommended exercise that "... use a pelvic lift," said he as he demonstrated a rather nice plea, porta bra, and passe (nice for a doc who had never seen ballet.) It's now a year and a half since I first saw the doc. The cane sits in the closet collecting dust. As long as I take regular ballet classes and wear the ergomates at work, I feel great. When I slack off of classes, my leg develops a wobble and hurts a bit. The same is true for my back. I took a fall decades ago that popped my back in two places. My back has always been weak and the 2 pops didn't help it. As long as I dance, I feel great. When I slack off, I start to slump, my involved leg joints pop & click, and I hurt. I've concluded that my bones don't hold me up. My muscles hold me upright. This has been my experience. Yours problem could be different. I'm not suggesting that ballet can cure all. I am suggesting that it is an option to consider.
Ballet, Treatment, and Healing:
There are now may illnesses that no longer require hospitalization, yet require extended treatment. Little if any research is available to say if ballet can help maintain strength during treatment. The following is one individuals experiences. It is hoped by sharing this, others will share, and a body of knowledge will develop.
5 years ago, I took a crash course in Chemo-Therapy & Radiation Therapy. There are many types of chemos and reactions to them vary from each individual to the next. Based on my experiences, it is better to move between chemo therapy treatments than not to move. My chemo was administered once every two weeks. On treatment day and the next, I did nothing. On the fourth day, I did a light barre. By the next week I was back to a mild light full class. Then the cycle started over. I lost a lot of function during the ordeal but not as much as I would have had I done nothing at all. The most amazing part was that I experienced no side effect for 48 hours after a class and felt my energy was restored by the class. I had to be very careful for my heart wanted to race. My rule of thumb was anything uncomfortable such as racing heart, stop and watch awhile. Radiation was different. I just slept. I lost a lot even though it was over in a month. Coming back from Radiation Therapy was difficult because muscles wanted to stretch at the ends rather than the middle - a feeling similar to tennis elbow. SLOW gradual stretching, taking beginning ballet class, rubbing the centers of muscles while stretching did the trick. It seemed I would never get back, then one day I kicked and my foot was over my head effortlessly. What a great feeling! I was back! (In truth, not back but ABLE to come back!)
During chemo-therapy I experienced peripheral nerve damage in my feet and legs. While in chemo I stuffed my feet in canvas dance boots rather than street shoes. My thinking was that chemo was causing swelling in my feet. Pressure of too large feet inside a too small street shoe could reduce circulation and increase nerve damage. The dance boots had more give and stretch than street shoes. I don't know if it helped because I don't know what my condition would have been had I put street shoes on during that period. I do know that the nerve damage was minor compared to several others who were receiving treatment at the same clinic. (The others were receiving different forms of chemo than I and that could have made the difference.) My nerves seemed to come back to life. After about four years, I went through a period of leg instability and muscle malfunction. I wondered if some of the nerves had come back making some muscles strong while others had not leaving some muscles weak. At any rate my solution was ballet barre, being extra careful to work all muscles evenly and I recovered.
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Share Your Adult Ballet Info, Tips, and Experiences:
Did you begin ballet as an adult? Do you have tips for the adult dancer? Did you dance thru an injury or catastrophic health event? Zandance would like to hear from you & post your info on this page. Email your info now. Please divide your info into 2 sections: "Public" & "Private." Any info listed in the "Private" section will be kept confidential. Posted info will not contain your real name due to identity theft concerns. Zandance reserves the right to post or not post any info sent without giving a reason.
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