After The Show Is Over……

 

 

As a Dance Educator, what do you think of after the final show of the season is over? When the curtain closes and your work, ideas and creativity have come to the finish? How do you feel about the production, your work and the effort that the dancers and yourself have put into it.? What did you think of the overall final performance?

 

For me, I always have mixed feelings…

I know that my dancers ALWAYS do their best. They are trained that way throughout the year. I never doubt their ability, their confidence or their joy of being on that stage. I have full confidence that they know their choreography, their placement and their cues. I am in love while watching them fulfill what I have created for them to perform on that stage…their special day.

For me, as a Dance Educator, I sometimes question myself when I see error in our productions. I know that the audience doesn’t see what I see from the wings or back stage or dressing rooms. I know that they don’t know that there was a problem or the mistake that I see. I know that the audience is enjoys seeing their loved ones on that stage and are happy their dancer is up there doing their best.

But sometimes, I question myself. I wonder if I gave my all to make the performance wonderful. Should I have chosen a different costume? Was the music just perfect for that age group. Was the blocking just right? Was the choreography too hard.? Was the scenery constructed properly? (yes in small studios the teacher/choreographer is in charge of set construction) Were the stage hands given proper cues? Was there too much delay between numbers. There are so many questions that go through your mind as the show is going on and as the Dance Educator.

But one feeling is a sadness that it is all over. Yes…I am sad….

I have to reel my thoughts in and sit back and think about what had transpired during that performance. I have to come to the realization of the “crash” of the excitement of the final few weeks leading up to the performance and come to realize….. what is this dance life all about? I have been involved in recital for as long as I have memory….I need to think, what am I here for if I find flaw in what I see happening during our performances.

I know…..

I am here to teach children how to dance…(most especially ballet…the most important dance form). I am here to teach them the discipline of dance, the health benefits of dance and keeping fit. I am here to teach them to work as a group. I am here to create a love of dance in their hearts and to hold on to for the rest of their lives, as I have been instilled in me.  But I think that most of all I am here to put happy memories in their lives that I hope they will cherish for ever.

For me…. I am feeling saddness that it is all over…as I think any dance educator will also agree…

BUT ……..we get to do it ALL over again next season……

Thank you to my dancers for being a part of my life …you keep dance alive in me always….and that is what being a Dancer Educator is all about. And that is what I feel …..

After The Show Is Over

Thinking Like A Dancer ….Happy New Year thoughts for a great 2014 dancing year!

 

 I am wondering what dance students think about when they are not at dance class ……

Do they think about preparation for dance class? Do they review choreography and technique? I am on the positive side and hope that they do. Sometimes I am overly excited about what I see in class, but there are times that I am gravely disappointed in dancers that I expect more from. Am I expecting too much?

I have been finding lately that many dancers come to class unprepared. Hair not done, pieces of dancewear missing, a missing shoe, dangling earrings on in class (which they are requested to remove). Many are late for barre work because of “dilly dally” or chit chatting or fixing their hair in the dressing/waiting room. I am not understanding why? Do these dancers go this unprepared to school? Are there consequences at school that are not at dance school? Do the dancers consider the dance studio a school?……

Many dancers arrive at their studios directly from school. Which does take some planning on the part of the dancer for them to come completely prepared. I do remember going to dance school directly from school, as a young dancer, myself. My dad would pick me up at the ring of the school bell and my dance clothes where in my dance bag in the car and ready for me to dress at the studio. In some instances, where rehearsals were immediate upon my arrival, I dressed in school before the bell and I was totally ready at the studio or rehearsal hall. My long hair was done properly for dance, prior to attending school those rushed days. I was ready to go.

What makes this decade different? Is it the loose hair that is seen on dancers on TV and video? Is it the many different colors and styles of leotards that the dancewear industry has today? Is it the new bare legged trend we see on dancers? Or is it fashion that the Hip Hop dancers are instilling in the dance profession that dance students think that this attire is acceptable for all dance genres.

On another note ….. some dancers, even whole classes, are not remembering steps, choreography, and even terminology. Where as other classes are right on top of these essential things. I would begin the class week after week repeating and repeating steps, dance combinations (enchainment) and writing them out on the mirror only to start all over again the following class. Where as other classes remember these essentials at the “bat of an eye“! Is distraction a cause? Are some dancers involved in to many activities to be faithful and determined to excel at dance class? Is their thought process that attending a dance studio a social activity and not viewed as a school?

A dance student who wishes to excel in the dance world needs to Think Like A Dancer. They need to be focused and determined to be the best they can be in class.

A good resolution for the New Year is to begin a habit that would be enriching for the dancer while in class. Here are some tips for dancers to think on…..

1) Prepare for class by attire, hair, shoes, dance bag, before hand. The night before if you attend class directly from school. Be sure you have a leotard, tights, proper dance shoes for that next day, hair ties and a brush. Proper warm ups (color and correct fitting) for when it is a bit cold all ready in your dance bag. If you have your class assignments ready for school each day than this should be a breeze for you.

2) Prepare mentally and physically for steps. Practice. Keep a dancer’s notebook for steps and combinations. This practice is beneficial for you and for the entire class so as to keep the class moving forward and not staying stagnant repeating and repeating essentials that were taught weeks before.

3)While in class, listen carefully to the teachers instructions. Dance class is not a time for socialization. The waiting and dressing rooms are a good place for that after class. Dancers need to be attentive while the teacher is instructing. Keep your eye on the teacher to learn the steps.

4) Be alert and attentive in class. One thing every ballet teacher wishes, is that the dancers be in position before the teacher asks and before the music starts. What a pleasure for the teacher to turn around after setting the music and seeing a class of dancers spaced properly and in the correct foot position to begin.

5) Prepare mentally for steps. Think at home on what you have learned in class. Be prepared for your next class. While in class, be thinking the steps so that your brain is ready to implement them. During the preparation music, focus on the step ahead.

6) When the teacher steps back and wants you do dance the enchainment on your own you need to “own” your steps and then wait for corrections, instructions and the famous, “Ok, One more time.…”

In 2014 put your “best foot forward” and make going to dance class worth it for you …you will be happier and grow as a dancer…if you are Thinking Like A Dancer……

Have a great dance year!

 

Thinking The Ballet Way

 

This past week, in a ballet class of dancers 6 to 8 years old, which we call our Novice Ballet class, a wonderful discussion came up out of a simple question. …..”Miss Teri, there are so many names that you say to the steps that we do. How can we remember all these names?”
Adorable! I just loved the question and saw a need for a very simple discussion…….So I proceeded to explain why I teach them all these strange words…..and we had a wonderful discussion!

Taking ballet class is beneficial at an early age. Ballet is a progression of many, many levels. The amount of levels and how the dancers progress is depending on the teacher and the school. Dancers should be taught simple and gradual in the beginning, to prepare the building blocks that they need to become the advanced dancer.

One of the most important things in ballet training is basic terminology, and the technique of those steps taught at the dancer’s particular level. One way I like to do that is have the dancers keep a journal, which we work on monthly. Very simple at the Novice level that I was speaking of in the beginning of this post, but more informative at the upper levels.

I prepare work sheets with vocabulary words (ballet steps and terminology) and also a diagram to paste in their journals, for the Novice level and the next level up the Mini level. (Older groups go on to dance history and more facts about ballets along with their level of terminology and syllabus.)

Along with our journals, that most of the dancers take pride in, I continually talk in ballet terms during our class times together. In breaking down their steps, I always speak in correct terms. Using the numbered walls and corners (Cecchetti method) and the terms upstage and downstage, stage right and stage left, is part of learning our steps. In learning choreography, traveling in the correct direction is just as important!

Just as learning a foreign language, which as we all know that ballet terms are in French, immersion of the correct terminology is essential in order to keep these terms and steps deep in their little brains and close to their hearts. Just as a child learns English, or any native language, the conversation in kept in that language or in ballet class, the terms are constantly used. Conversation, or terms, may be simple at first, but always used as communication.

Along with correct terminology, always Thinking the Ballet Way, we must use correct musical phrasing. Learning to keep rhythm and proper timing to music is essential to any piece of choreography. Most often, tap class is suggested as a method to learn simple timing. I agree with this method of teaching. Nothing better than some metal on the bottoms of those little feet to get the dancers to learn timing. Even as the dancers grow in age and ability, tap dance is one of the basics to feeling musicality, and a joyful way to just dance. I myself love tap, always have and I enjoy teaching it!

Another way to teach rhythm at an early age is through clapping or using rhythm sticks. Where the dancer learn patterns of timing using wooden dowels. Almost as a drummer would learn their skill. I like this method at the Pre dance level. They seem to enjoy it, but I prefer teaching tap instead since the rhythm is directly in the feet.

Terminology and Musicality…essential for Ballet class…..
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Teaching with a Set Barre

 

 

With the beginning of each dance season, in September, I teach a set of barre work that we will do each class for the entire season. The set of barre work is choreographed according to the level of ballet that we are beginning and is advanced as each season begins. A barre syllabus to be more explicit. Dancers often ask me why, we do the same barre work for an entire year. I will begin here, why and the necessity of a Set Barre.

To begin, in many small local studios, ballet class is a once per week maybe twice per week class. I am not an advocate of this method, but many families are on a set budget, and to allow their dancer to experience several styles of dance, only one or two ballet classes per week is their only financial option. For this primary reason, is why I like a Set Barre. The dancer who only takes a minimum of ballet classes per week will get to memorize the sequence in the beginning of the season and will eventually be able to correct themselves, and bring their work to excellence without having to concentrate on barre choreography.

Using a Set Barre allows the teacher to rotate some combinations. For example, some barrework will be done every class, such as plies tendus, ron de jambe and grand battements. Others every other class and some just here and there to review as the season progresses and gets more complicated with center and across the floor work. This enables the teacher to save time during the period of the year when the dancers are cramming to learn choreography for a performance. By repeating the same concepts the dancers have time to actually master the skills and their body has time to memorize positions the feet need to be in.

Another reason for a Set Barre is that when using a graded syllabus, the barre exercises correspond to the grade. In other words as the dancer moves up level by level each year so does the set of barre work. The barre combinations, needless to say, become more difficult and complicated with each level of ballet training. This is a proven method, that shows results in training, of how a dancer progresses at a slow continuous rate, as ballet training should be.

Learn your barre combinations each year so you may do them without thought of choreography, but just a thought of a good warm up. A warm up to excellence…..

Improving Your Leg Extension

 

So many dancers ask how to improve their leg extensions. Developing a good leg extension is one of the most cherished things a dancer looks forward to. Here is a re-post of  important information in creating that beautiful extension in you.

 

 

There are a number of things that ballet teachers work on diligently to develop in their dancers. First and foremost is a love of dance. Next is the appearance of the dancer’s body. Correct alignment, stretched and pointed feet, good spotting technique, beautifully stretched out leaps and higher jumps. But one of the most impressive skills that is sought after, is high leg extension. I am referring to the working leg either to the front or to the side. This is practiced first at the barre, then moves to the center with adagio music and developpe exercises. A standard ballet class will have at least one exercise at the barre and one center floor. Both barre and center exercises will repeat right and left sides, to train the extension that defines the beautiful slow developpe.

The typical ballet class is not enough to develop the necessary strength, flexibility and coordination required of the dancer to develop the necessary muscle groups to achieve the highest of extensions. I would like to recommend that while practicing at home that several conditioning exercises should be done. Conditioning outside the dance class, at home, will show good results for back strengthening, arabesque height and front and side leg extensions.

There are two muscle groups involved in good extensions. The quadriceps and the hip flexor muscles.

The quadriceps are a large muscle group that includes the muscles on the front of the thigh. It is the a large muscle that extends out of the knee, forming a large fleshy mass which covers the front and sides of the thigh bone. The hip flexors are a group of muscles that act to flex the thigh bone. They are situated on the upper thighs and just beneath the hipbones. Hip flexors allow for lifting of the knees and bending at the midsection. Because they continuously work to support the body, hip flexors tend to become stressed and tight, which can prevent the highest of leg extensions

Here is a five minute exercise that should be done in three sets of ten repetitions on both legs. It should be repeated three times per week for six weeks to get some better extension results.This exercise is to stretch the hip flexors. 

Sit in a long sit position: back straight and both legs extended front

Lean back on your hands

The leg to be exercised is turned out with the knee slightly bent like a front attitude

The other leg is bent and the foot is flat on the floor

Lift the attitude leg slowly and then bring it back down again, in three sets of ten repetitions.

The achievement here is to use the quadriceps as little as possible and work the hip flexors.

Another way to stretch the hip flexors is to:

Lie flat on your back, and pulling one leg into your chest.

Lift the other leg up and pointed towards the ceiling and turned out.

Then slowly lower the leg until it eventually rests on the floor.

As you hug one leg, feel a release in the hip flexors in the extended leg.

Hold the working leg off the floor as close to the floor as possible for about 20 seconds before releasing the foot to the floor.

Remember to keep the small of the back pressed to the floor. Repeat for the other leg.

Stretching the quadriceps is important for good leg extension and hip flexors stretch ability and should not be totally neglected.

Lie on to your stomach flat on the floor.

With a flat back, relaxed neck and relaxed legs, Begin lifting your right foot and lower leg upward and bend it at the knee.

Lifting your body up slightly, reach back behind you and grab your right foot with your right hand.

Pull your leg upward and hold the stretch for about 20 seconds.

Next, perform the same quad stretch using your left leg.

You can also perform quad stretches for your hip flexors from a kneeling or standing position.

Or…Use a chair or wall for support if needed.

Pushing backwards toward a wall with your leg bent between your body and the wall during quad stretches will intensify the stretch and provide support. So instead of holding your foot, use the wall behind you for balance and stretch.

For a more intense stretch,

Start with your left leg. Kneel down on your left knee and position your right foot in front of you, knee bent.

Place your right hand on your right leg to guide your balance. Your other hand should be at your hip.

Keep your back and head straight, with your abdominal muscles tight. Shift some of your weight to your right leg, moving forward slightly. You should feel your left thigh stretching.

Extend the left leg behind you so that you are on the ball of the foot.

Raise both arms straight up above your head parallel to your ears.

Hold this position for about 30 seconds and repeat it three times, then switch legs.

There not many things in ballet as beautiful as a high leg extension…..one that can be held with ease. Work on it!

How To Find The Right Dance School

Finding the right fit in a dance school for you, with the new dance season approaching, can be a  task. Let’s talk about what you are looking for ….. 

 

The first step to finding the right dance school for you is discovering what you truly want to do with dance in your life. Realize what your goals, dreams and desires are in respect to dance. Do you just want some exercise? Do you just want a social activity? If your focus is purely social and a little exercise, then your journey is much more easier than you thought. Just ask around.

But, if you absolutely love to dance —if you eat, think, sleep and dream dance — and have the thoughts of a professional career, either on stage, as a teacher or choreographer, then your goal is to find a school with teachers who have a focus on those same ideals. A teacher who has your dreams in their heart as well.

Once you know what kind of a dance school you are looking for, it will be much easier to find it. First, talk with the owner of the school. Do the teachers who work for the school have some type of certification or are on their way to one? What kind of experience do the teachers have? Where did they study? Don’t just be impressed with rows of trophies, since to be judged is always just someone’s opinion. Not all schools with rows of trophies have the dancer’s heart first and foremost in their value.

Well rounded dance programs should offer an array of classes with the main focus on classical ballet and ballet technique with possibilities of pointe work in the future. Jazz, tap and modern should be second on the list of classes to search out. All of these classes contribute to the building of a well rounded, well informed dancer.

Does the school offer a graded syllabus where the dancer will progress to a certain level from year to year? This is an important question to ask. Just as you would graduate from grade to grade in school the same should be for dance school.

Does the school know what method of ballet that they offer. You would be surprised that some local dance schools have no idea that there are different methods or the differences between them. I teach the Cecchetti method, but some of the others that are foremost are the Russian Vaganova method and the Royal Academy of Dance method. We will discuss their differences in a future post. It is good for a school to focus one method instead of combining methods as many do. The variations in the syllabus and the technique can confuse a dance student.

Are you interested in an end of the year performance? Are you interested in dancing in a Nutcracker at Christmas time? Although these two aspects of dance school are important for learning stage presence they should not be the focal point of the studio, learning and increasing your dance technique should be the main objective.

Some signs of quality dance training are:
-Proper placement in class and focus on correct fundamentals
-Emphasis on correct execution of steps, with focus on clean lines, strength and stability,.
-Technical proficiency of a majority of students in the school. -Graduating dancers with intent to continue dance.
I am hoping that this dance season will be your best one ever,

learning good solid technique,

gaining strength,

progressing

and having fun!

Performance Preparedness – Knowing Your Choreography

 

 

Your performance day has arrived…you are excited, nervous and happy all rolled into one. You are all practiced up…or are you? You have everything…or do you? Are you organized? Are you ready?
The first thing you need to think about is….. do you know your choreography? I have found that many dancers who take their classes only one or two days per week believe that this is the only time they need to be practicing their dances. They feel that class time is their practice time. I am sorry to let you know this, but you will never remember choreography if you don’t practice it on your days when you don’t have class. It is just the same way you have a Math class every day, to practice adding, subtracting or later on algebraic formulas, is the same way you should be practicing your choreography. The same way you have an English class every day to practice your grammar or writing, you should be going over difficult steps that you don’t quite understand.

Many older dancers rely on their teachers to remember steps, or where they stand in a formation or their follow up count. That is not the teacher’s responsibility. It is the teacher’ responsibility to do that if the dancer is 10 years old or younger. But once you are a seasoned, pre teen dancer it is your job to know where you go and what you need to do and when. This is all a part of your dance training. Remembering your position, choreography and formations.

Are you paying attention in class, or are you too social to comprehend properly what is going on while your teacher is giving instruction. If you are talking to another dancer while you are supposed to be taking class you are wasting your time. You are paying for class time or rehearsal time to learn something, not to talk to another dancer about what happened in school that day or what your plans are for the weekend.

Are you taking notes in a dance journal after class to remember what should be practiced at home? I am a firm believer of writing down choreography. I have kept notebooks of choreography from many years ago when I danced in Manhattan. I still have these notebooks many years later. There is a connection between actually physically dancing steps and writing them down that makes you remember them and be able to re-call them at a moment’s request. The ballet classes in our studio all have dance journals that were given to them by the studio…..they need to be filled with information that you can go back and refer to. If your school doesn’t supply you with a journal…get one. Don’t waste your time… it is too precious.

Am I asking a ton of questions in this post? I am…. because this is what I see many times from dancers who have their attention else where than where it should be in class. Your teacher can tell who is actually interested in dance and who is there just for a social gathering. Too many times a talented dancer is wasted because of lack of concentration in class. I will tell you that it will show up performance day.

Here is my main tip for performance preparedness for today ….Take these last few weeks before your performance and concentrate on what you need to know. If you have a question on choreography, now is the time to ask. If you are unsure where you belong on a certain part, ask now. The stage rehearsal is too late to be asking questions that should be answered in the dance room.

 

Performance Prepardness – Backstage Instant Remedies

 

 

With all the excitement of your dance performance coming up, rehearsals, sewing costumes to be sure they fit correctly, collecting the proper makeup, and learning how to make that perfect ballet bun, there are other things that you should consider when packing for the theater. Today we will talk about some items to bring along to the theater and why you should consider bringing them…..

Backstage at a dance performance can be chaotic. Be sure you keep a list of all necessary items. In all the confusion, many dancers may have their parents rushing back home for forgotten items and then trying to make it back in time for the opening number. Here are some items that are often needed and most often forgotten.

Extra Tights
Always have an extra pair of tights with you in each color you will need for your numbers. Runs and snags in your in your tights are very visible from the audience.

Band aids
You’ll be glad you have glad to have a band aid if you get an unexpected blister. The best type to by is the clear variety, as colored ones will be visible through pink or suntan tights.

Ace Bandage
It is a good idea to pick up an ace bandage to take along with you in case of a rolled ankle or such. That extra support may get you through your next number.

Hangers and a Garment Rack
Be sure you have a hanger for every costume you have and hang them up as soon as you have a chance to avoid wrinkles. A rolling garment rack is a good thing to have for your performances if you are in more than one or two numbers. They are relatively inexpensive and portable. They will allow your costumes to hang neatly. You can easily organize your costumes in the order you will need them.

Safety Pins and Needle and Thread
Pack a small supply of safety pins in various sizes in case you need to do some last minute costume alterations or repairs. I myself feel more secure if a few stitches are used, if time permits, for more security. A sewing needle and thread is a good idea to take along with you. If your ballet slippers or pointe shoes some how break a strap or ribbon at the last minute you can quickly stitch them. You can not use a safety pin for shoes.

Baby Wipes
Baby wipes are great for quick clean-ups or make-up fixes. Wonderful for cleaning the bottoms of your feet after a Moderne or Acro number, where you dance barefoot.

Pain Reliever
Bring a pain reliever. The most familiar is either Tylenol or Advil, but if you use natural remedies, White Willow Bark capsules will do the trick quite nicely….. Unexpected muscle aches and headaches can spoil your performance.

Clear Nail Polish
Clear nail polish can save a run in tights from getting out of hand. Apply a small amount to the run or snag as soon as it appears. Better yet, bring extra pairs of tights.

Make-Up
Be sure to bring your make up kit. You will want to retouch make-up immediately before going on stage. See the post on “Stage Make Up, Collecting Your Items” posted on March 14, 2013

Cameras
Don’t forget to bring your camera. Even if cameras are not allowed in the auditorium, you will want to capture those special backstage moments before and after the show. Be cautious of taking dressing room shots. Many pictures have been taken in dressing rooms where someone in the back ground was not aware you were taking pictures. It is best to avoid dressing room pictures and keep those backstage memories in the hallways. Avoid taking pictures from the wings, even without a flash, unnecessary people backstage, near the wings, during the performance, tend to be in the way of the backstage crew and the dancers exiting and entering the stage.

Packing these few, normally un-thought-of of items, can be a real life saver at your recital/revue/ concert. Take that extra time to buy them and pack them with your costumes or make up kit. They could be the difference between a great performance and a disaster……

Performance Preparedness – Back Stage Etiquette, Be A Professional

 

As the performance season approaches, I try to see other dance recitals/revues/concerts when I can and when it doesn’t interfere with my schedule. I often find myself saying, “ What a great show, how professional!” or I may say “Wow, now that was just a dance recital…get them on and get them off…what a mess.” I know that sounds terrible, and quite judgmental, but part of your dance education is learning how to be a professional.

Think of seeing a Broadway show, or a show at Radio City Music Hall. The dancers and performers are professionals,  this is their full time job, and they needed to learned professionalism somewhere,  before they got to that big stage. It should have begun in their local dance school all the years they were receiving their training.

Performing is a professional activity and it is important to behave in a professional manner when on stage or back stage. I have been through many dance recitals/revues/concerts in my days and as hard as dance teachers and choreographers try to teach their dancers correct back stage etiquette, the nervousness and excitement that the dancer students have that day, just seems to wash all that professionalism all away. Today I will try to teach you some backstage etiquette, to make your performance as professional as possible.

Never peek through a curtain to see how filled the house is or to look for your family before the show begins. Those curtains need to remain lifeless until the opening number and the curtain opens. When you are waiting in the wings to go onstage remember to stay near the curtain, if you can see the audience, they can see you! This is very unprofessional and anyone in the audience will then view the show as the same.

Every dancer wants to see their friends do their dance piece, and that is part of the excitement about dancing in a show. Those dancers who are in the wings just to watch their friends on stage are causing undue stress to those who are working back stage to keep the show flowing smoothly. Teachers, stage hands and mothers who are keeping the show moving at a fluid pace may find those extra dancers who are onlookers in the way and these dancers may cause a delay in the show. The extra un needed dancers in the wings are taking up the limited space back stage, where the next group of dancers are supposed to get ready to perform. Some groups that are preparing to go on stage may be large groups of eight, ten or more dancers and the space is limited. If you are not due to perform, stay away from back stage, and in your dressing room until you are called. You will be creating undue stress on those who are needed to be back stage if you are in the wings.

Be quiet whenever you are back stage, whether waiting to go on or leaving after performing. Talking can be heard by the audience. If you are wearing tap shoes, try to walk quietly on the balls for your feet when getting on and off stage and leaving the backstage area. If you need to go through a door, hold on to the door so it will open and close silently. As excited as you may be, do not talk until you are in the dressing rooms and far enough away from back stage. Be respectful to the next number that is performing next. You don’t want the audience to be distracted by any noise coming from backstage.

Sometimes dancers can get very impatient just waiting to be called to dance. They may decide to take a walk out of their dressing rooms. If you find that urge, fight it. You may be called for your number and not be able to be found. Many times “runners” the people who call you for your number may not know you. They may be just following a list of names and you can not be found. The curtain will not wait for you if you are not where you are supposed to be.

One of the most important things is listen and respect the backstage mothers working in the dressing rooms. They are there to make the performance run smoothly and to keep the dressing rooms organized. They are giving up their time and energy to help you have a wonderful experience.

Remember as your dance years go by, each and every performance will be come a memory. Keep your memories happy and stress free…..and always be professional……

 

Performance Preparedness – Warming Up Before Performance

 

Warming up is part of a dancer’s daily schedule. You should be stretching before class begins and massage and rub your tender muscles, and then you stretch again. What about during show time?

 

 

There is an excitement of doing your hair and makeup, getting into your costume and finally performing what you have been working on for so long that dancers don’t consider their bodies. Are you warmed up enough to actually do what you have been rehearsing? Are you warmed up enough not to be injured on the stage? Remember, all year long you have been warming up in class anywhere from 15 minutes to 45 minutes, depending upon your dance level, before actually doing any dance combination what so ever. Today, I will try to instill how crucial warming up before performance, is for your outcome on that stage.

Warming up prepares the body for larger, more exerting movements and decreases tension in the muscles so you can move without stress and strain. It creates a more limber and flexible body. It allows you to perform with ease and grace. Your goal is to limber up and gradually increase your body temperature, warm muscles, and to avoid injuries.

Warming up before a performance will give you a sense of calmness, and allow you to concentrate on what is ahead. There are many ways to begin a pre performance warm up, wrap your self in nice cozy sweats and maybe a pretty shawl around your shoulders and lets get warmed up.

One idea is to begin on the floor with abdominal work. It will give you a center and balanced feeling while performing. While on your back do some leg circles. Lift the leg and draw little circles in the air while keeping the small of your back on the floor.

If you are tense and your back is very tight you may want to begin with a series of slow, deep roll-downs from a seated position, then do a yoga plow where your legs go over and behind your head and your toes touch the floor. Back tension can make you stiff on stage. If you have a tight back, stretching forward and back from a standing position too quickly can make it feel tighter, or even throw the muscles into spasm. Remember that the abdominals and your back muscles are crucial to your performance.

From this point you can follow with barre exercises, such as plies, tendus and degages. Plies will enable the over all muscles in your legs to respond with more agility. Remember that your feet need to warm up too. You need that beautifully arched pointe on stage, so working some tendus and degages will warm up your feet and ankles which are just as essential as the rest of your body. .

Move on now to more leg stretching exercises and some grand battements. Always moving and not keeping still until you are actually on that stage. If you feel that your hamstrings are tight, it indicates that your back is taking a lot of stress and you need to keep it loose and relaxed. This is where the abdominal exercises come in to strengthen your core and to make your body and mind aware of the muscles that you should be engaging almost like tightening the screws on a machine before turning it on to ensure it will run better. Then, you can move on to do a nice and easy barre that works every muscle you would use in ballet. Continue to remind your body what dancing is, then there won’t be any surprises onstage.

You my also want to test the floor of the stage with some small jumps and go across it with some turns and leaps just to get a feel of the stage, so there are no surprises once you are finally out there.

Warming up can be a personal action. You many want to wear your Ipod and listen to soothing music while warming up. For some dancers, warming up may be more beneficial along with other dancers. Which is your preference? Either way …do not get on that stage with out a warm up first……