Dance is not only excellent exercise, a means for expression, but also gives one the opportunity to learn about an art form from the inside. The wonderful thing about learning ballet is that you don't have to be gifted to enjoy it. Anyone can partake. It will have the additional benefit of giving you some insight when next you go to the ballet and watch your favorite dancers. It's fun to recognize the steps. It will give you much greater appreciation of what you are seeing. Here are some basic questions and concerns I have been asked by beginning adult students during my years as a teacher:

I would like to learn to dance, but I am not graceful.

One goes to ballet class to acquire grace, it is not a necessary ingredient to have beforehand. While it is true that some of us are with blessed with natural grace of movement, this doesn't necessarily translate to dance movement. More often, I have found one uncovers unknown graces as one progresses.

I would like to learn to dance, but I am too fat/skinny/short/tall/round/flat (fill in the blank).

Everyone, absolutely everyone, even the greatest ballerina, can recite a list of self-perceived physical deficits. It's amazing how most of us are dissatisfied with our physical structure. If we wait until we are "perfect" - no one would ever go to ballet class. There are few exercise regimes that are as balanced as ballet class. If you look at dancers' physiques you can see that they are neither top heavy nor bottom heavy. The men are obviously strong in the legs for all that jumping and at the same time have the upper body strength to lift the women. The women are both strong and flexible. Ballet class presents a means which, assuming the teacher is knowledgeable, will not over develop any group of muscles to the detriment of others. Well-trained dancers (especially the women) will not have huge calves or thighs.

Everyone will look at me and see how badly I am doing.

Everyone else in class is really so busy with their own problems and concentration that there is no time to stand around and critique you. A well-run class has a positive atmosphere for learning. Ballet class is an equal opportunity challenge. No one comes to it as a full-blown dancer. It is a slow development. Everyone starts at the beginning. And, everyone soon learns that if one were to be so foolish as to laugh at the mistakes of others today, without fail - without fail - one will surely make that same mistake at some time in the (near) future. I can't tell you how many times I congratulated myself on a multiple pirouette, only to have the next several fail abysmally. One soon learns to respect the work and efforts of other students.

How do I find a good teacher?

There are several ways. Ask people you know who are already familiar with teachers in your area. Or look in the telephone directory. Or call the local dance company and see whom they recommend. Call the teacher and talk to her. Ask to come and observe a class. Ask how she feels about teaching adults. Ask if there are performing opportunities for adults. Even if performing is the furthest thing from your mind, if the teacher replies very negatively to the thought of adult students performing, her answer might give you some insight as to how she views adult students. Listen to how willingly she answers your questions. Does she treat your questions with respect and importance? Is she interested in your concerns? When you find a likely school, visit and observe a class, more than once if you feel the need. Get a feeling for the atmosphere in the classroom. Are the students serious about the work, and is the teacher serious about teaching adults? Serious is good, grim is not good. One can have humor in the classroom, and still have a serious atmosphere for learning. Are the people courteous to one another? Does the teacher teach in a constructive positive manner? Watch how the teacher and the students interact with one another. That will give you many valuable clues as to what you can expect.

Remember this is supposed to be an enjoyable experience as well as a learning experience.

Next (if there is interest): what to expect in your first class.

Learn added to thread title. BM

I really enjoyed reading this - please keep the series coming!

Graham

Thank you, Graham. I shall do it approximately once a month. And please feel free to ask and or contribute to the theme set out above.

Ok - I have found a teacher and I am going to throw sanity to the winds and try this. What can I expect?

First it's important to know what not to expect. You are not going to be a ballerina in one class. And, most probably no one else in the class is a ballerina either. It will help you to fit in and feel more comfortable if you come to class appropriately attired.

Oh Yes! What should I wear?

It's a good idea to ask the teacher beforehand what kind of dance attire she prefers. Some teachers have a definite dress code, not only as to color but also as to style. For instance, a thong leotard worn along with shiny iridescent pink tights and ballet slippers with huge pink ribbon bows might not be what the teacher has in mind. Ask her. You can also ask her where to buy them; she might have a particular store that she has learned to trust.

As for slippers, your teacher can advise what she prefers: leather, canvas, split sole, etc. The shoes should fit like a glove, neither too tight (a recipe for tendonitis) nor too loose (you will trip). If the shoes, especially leather, get a bit large over time you can always wear a pair of socks. So, buy them to fit like a glove. They will be attached to your feet either via elastic or ribbons (or both). Before you wear the shoes and BEFORE you sew on either elastics or ribbons, have your teacher check the fit. Then ask her to show you exactly how to sew on the elastics/ribbons (men don't usually wear ribbons). When you sew them on, fancy doesn't count, strength does. Sew them on as if your life depends on it, because it does.

Basic attire consists of leotard, tights, slippers plus sports bra for women, dance belt for men. If your teacher allows it, a sweater or leg warmers if its cold. Hair must be firmly contained and no jewelry; this is for everyone's safety.

This is exciting, I can't wait so can I wear my slippers and dance around a bit in my house?

It is generally not advisable to practice by yourself, and save your slippers for ballet class.

If I don't get a chance to observe a class, what should I expect a studio to be like?

The basic equipment for a ballet studio is a barre (either attached to the wall or free standing), some mirrors, provision for music (either live or taped), but most importantly the floor should be sprung. It must be a raised floor, not sitting on cement. Your knees (to say nothing of your spine and teeth) will suffer; sooner rather than later.

How long is class and what happens if everyone else already knows the stuff?

Generally ballet class is 90 minutes long. The first half is work at the barre which is a warmup for the work in the center (no barre). However, sometimes beginner class is only 60-75 minutes long. Personally, I don't consider this adequate, but some teachers do. If you are starting a class in which the other students have been there for a while you might consider asking your teacher for a private lesson initially just to familiarize you with the positions of the feet, arms, head and body. Plus, some basic things like pliés, (knee bends), relevés, (rises), etc.

Will I be holding everyone else in class back?

A good teacher won't allow that to happen. If some of the people have been there for a while she will manage to have each student more forward at the appropriate pace. That's part of her job. So don't be self-conscious. As long as you pay attention, ask your questions politely (if they are really personal questions ask them after class), work and try hard, everyone will appreciate your efforts and be glad to have you.

OK - now I'm home, and, uh oh, I don't remember ANYTHING!

Don't fret. It is estimated that the retention rate for any single class is 5% or less. Learning ballet is not simply about the mind incorporating the concepts, but also the body has to change to accommodate those concepts. This takes time. Ballet is a cumulative learning experience and is done very slowly. So, be proud of yourself that you have had the courage to take on a brand new learning experience. It might also help to buy yourself a small ballet vocabulary book with some pictures and a notebook into which you can write down the stuff you do remember, along with questions that occur to you to ask the teacher next time.

(And don't forget to send me tickets too your first performance in Swan Lake).

Next time: Class etiquette and taking care of your equipment.

Questions?

I could NOT EVER attend a class in jewellery - it still makes me shudder to watch Wimbledon and see all those athletes in necklaces. My sister takes her rings off to play the piano, too! The head of my ballet school was in the De Valois mode - I think the likes of Makarova and Mukhamedov would have approved. Lessons were 45 minutes for most of my childhood, raising to an hour or an hour and a quarter at "majors" time.

Meanwhile, in this sentence:

"If some of the people have been there for a while she will manage to have each student more forward......" it should not be "more forward" but "move forward." I came back to correct it too late for the edit to work.

The one constant about checking for typos is that there is always one more hiding around somewhere. (Fixing pirouettes is easier than catching typos. )

Ballet class has certain rather hallowed protocols; some are traditional and some are for safety, courtesy and efficiency. Along with having your hair confined and no jewelry, try to avoid using anything that has a scent, such as in a deodorant, shaving lotion or general perfume. This can be annoying to others or even trigger allergic reactions when people are working in close proximity in an enclosed environment.

Now let's talk about some basic rules of safety and courtesy. If the barre is crowded with people, be sure to angle yourself in or out, especially for large movements such as grand battements. The teacher should mention this if the class is a beginner level. As a beginning student the teacher might place you in between two other students who have been there longer so you will have someone to watch. In the center some teachers will place each student while others will allow students to find his/her own place. As a beginner place yourself where you can watch others. As time goes on following others is not a good idea, but in the beginning it is beneficial and expected. Space yourself at least a leg's length - in every direction - from those around you.

Sometimes when I am in the midst of a step (even the simplest one!) I get "stuck," I suddenly forget what to do!

When in the center and moving forward in lines, if you get "stuck" in the midst of a combination don't stop, keep moving forward! Remember others are coming along behind you. When you reach the front of the classroom, walk along the front wall until you reach the side walls and THEN walk to the back of the classroom. Never turn around and walk straight back into oncoming lines of people. When moving down a diagonal (from the back corner to the front corner) NEVER stop if you're "stuck," keep moving forward at the same speed until you reach the front corner.

Should I bother the teacher with some health problems I have?

Always let your teacher know before class if you have any problems, such as health concerns or previous injuries. If you need to leave the class for any reason, let the teacher know, otherwise she will wonder what happened to you.

Sometimes I don't understand what the teacher is doing, but I hate to interrupt everyone…..

If you have a question about something the teacher is presenting and it can't wait, like you don't understand a concept that is being presented, raise your hand and ask. However, if it is a personal type of question, or you wish a deeper explanation than what is immediately necessary to accomplish the task at hand, then wait until after class. Generally speaking, a smile, a nod and certainly a "hello" is always welcome, but try to avoid idle chatter. Many people find this interrupts the focus necessary in ballet class. Think of it like being in a church or other studious atmosphere that needs concentration.

You said something about taking care of equipment.

The dancer's equipment consists of several things: the body, the clothing/footwear, the floor, and the music. Each item needs special attention. Let's talk about clothing/footwear. When you are through with class change into something warm, such as sweats. Have a separate bag (plastic is good) to hold your damp tights and leotard and be sure they get washed after every class. Your slippers should be placed somewhere so they can air out, not enclosed in your regular dance bag. Which brings me to the subject of the dancer's dance bag.

A bag?

Yes, something sturdy and large enough to hold your change of clothes, shoes, towel, extra hairpins and all manner of other stuff you will accumulate. This bag actually becomes an abyss into which disappears entire closets and drawers' full of stuff including half eaten energy bars, surreptitious chocolate, rancid orange juice, as well as unpaid parking citations, "important" phone numbers, and unanswered marriage proposals. In other words, your life's story is in that bag. Like people, it puts on weight with the years.

I noticed you mentioned a towel, you forgot to tell me about that!

Sorry! The towel is your most important piece of equipment. It's a statement, a tool, and a weapon. The towel's overt ostensible use is to gently wipe up beads of moisture that form on your brow, but it is much much more than that! As you progress and begin to dance with a partner, if you like him/her you can gently dab at your brow. However, if this is a partner you would rather not have, use the towel to vigorously mop your entire face with appropriate facial grimaces.

The towel is also useful to allow others to see how hard you are working by making wringing motions to drain off all your collected sweat (your dance bag makes a handy receptacle for the drips). The towel is also a political weapon. You will notice that ballet class tends to be highly territorial. People have favorite places to stand at the barre and in the center. When entering ballet class set your towel over the barre in the place you wish to stand. The towel is your territorial gauntlet. It says: "This is my place, move it at your peril." In whipping your towel around it becomes a weapon that swiftly clears others from too close a proximity to "your" space.

Seriously, all kidding aside, it is part of class etiquette to politely find a place for yourself (if the teacher has not placed you), by observing where more senior students are standing and then asking someone if the place you have found for yourself is not otherwise taken.

Then whip out your towel.

Comments and questions are welcomed.

Next time: the other items of a dancer's equipment.

Don't let looks fool you, the ballet class is full of equipment. A wonderful old teacher once told me that the dancer has three basic items of equipment: the body, the floor and the music. It took me quite a while to understand and digest the meaning of her words. After decades of teaching and dancing, I would add two more: space and breath.

Well, I like the barre because I can hang onto that, but those mirrors!! Ack!

Beginners often have a problem with mirrors. For the teacher they are extremely useful. When the teacher stands at the back of the room behind the students, she can then see them from behind (where she is standing) as well as how they look in front (through the mirror). You have to learn to think of the mirrors as a tool, a way to check what you are doing, not to condemn yourself, but to improve yourself. However, it is possible (very possible!) to become immersed in the mirror. There are a number of head positions in the ballet that if done correctly, would preclude you from seeing yourself in the mirror. So, learn to use the mirror judiciously.

But using the barre is pretty straightforward isn't it? It helps to hold me up!

The barre offers some initial support, nothing more. The ideal barre is made of wood, wide enough so one can't grasp it too tightly. It should be high enough so that your hand rests on it while your arm is correctly held in second position. Grasping the barre or leaning the weight toward it is a common error. If the barre is not used correctly it can actually impede your progress. Your body will not learn to support itself. It's a very good idea at frequent intervals to lift your hand from the barre throughout the exercises to test where your weight is placed. Remember that dance occurs in the center (sans barre) so one needs to limit the amount of dependency upon the barre.

How about those other items of equipment that you mentioned?

The most important is your body. Unlike a musician, or a painter, etc., the dancer's own body is the embodiment of the art form. You need to care for it with that thought in mind. That means good health habits, careful dance development, and judicious use. The bottom line is, you are the guardian of your body. Don't allow it to be abused. That includes finding a knowledgeable teacher, so that healthy progress is made in your studies of the ballet. Read, study and become knowledgeable yourself so that you can monitor your progress and assure that it is happening along constructive rather than rigid lines. A case in point is the concept of turnout. It should not be pushed beyond the limits that your body can accommodate. A good teacher will help you to learn what those limits are and how to get there, and not to go beyond.

The floor…..?

The floor is the dancer's friend! Don't be afraid of it! Every dancer has fallen down, it's no disgrace, and it's not that far down! The floor is useful as an isometric exercise. This is most obvious in tendu. A dancer learns to use the floor, a great dancer learns to possess the floor. It's handy in stopping a pirouette (by putting your standing heel down), and it's useful to push against for a jump. A juicy plié will soften your landings and impel your take-off. The floor is your support. But, like your body, it changes everyday. The weather is a factor. When I was dancing I always tested out the floor before every class (by trying out my pirouettes) to see if it was a fast floor (slick) or slow (sticky). This gave me a picture of the amount of energy needed to use the floor to my advantage.

And music!

Music is the scaffolding of dance, whether it is a symphony or a simple tapped out rhythm. The music should come through your body. This takes a while to learn, but it is the music that initiates the movement, it becomes visible through the dancer. You learn to breathe with that pulse beat which will not only infuse your dance, it will also sustain you. If you inhale in time to the music it will suspend your jumps and it will aid in your balance throughout the ballet vocabulary.

….space? (this sounds strange!)

Space exists, air exists. We can't see it, but we can feel it and the birds use it. So can we! Dance is a three dimensional art. We makes lines in space, therefore we make it visible and give it shape. The spaces between our arms, legs and head are just as important as the lines themselves. One creates the other. The air about us is also useful, dancers learn to engage the muscles in the back and under the arms to aid in pirouettes, much as a bird uses a wing.

And there's one more "piece of equipment" that I should have mentioned - patience. A dancer learns the value of patience. No matter how talented or how well suited a dancer is the progress and learning come only with dedication and patience. Dance is wonderful training for the mind as well as the body.

Next month - "The Way to Your Teacher's Heart" with various alternative approaches.

I want to make a good impression on my teacher…..but I have heard that ballet teachers are a forbidding lot, severe disciplinarians, difficult…uh oh.

No! No! No! Not true at all! They are a rather simple lot. Believe me, I have been studying them for years. Easily pleased! If you come to class on time (even a few minutes early), and properly attired for work, with your hair tidily confined, you are already on the road to successfully navigating the runnels to your teacher's heart. It is surprising how many students never master these simple rules; be on time and dressed to dance. Of course, there are emergencies that might make one late, but some students have an emergency every week. If you do just these two things you are already demonstrating consistency of purpose. Very important!

How do I know what, when or how to ask a question?

This is an important consideration. Questions can either illuminate what the teacher is saying, or can be disruptive. A good rule is make the question germane. If the teacher is talking about how to do a tendu, it's not a particularly good time to ask about how to audition for the local road show. (Although that's a good question, just not at that particular moment.) There are students who use questions to delay the class from having to do a particularly devious exercise (I know, having done this myself), or to distract the class from the work at hand. Germane-ness is important.

How to ask a question is vital. Here is one way of phrasing it I do not recommend:

"The popular teacher down the street, you know, the one who has a lot more students that you have, says that your method of preparing for a pirouette is all wrong. Is this true"?

Here's another way to phrase it:

"The method you are teaching to prepare for a pirouette is new to me. I would like to understand it better. May I ask you about it?"

You will get a lot better response from the second approach. Sometimes when we ask questions we may be putting out a dual message: a true request for help, or a manner of contesting the teacher's opinion. No one likes to be contested, especially in front of a class.

Once I had a teacher who was the perfect forbidding curmudgeon. She had presented a method for accomplishing certain technical problems quite differently than I had heretofore come across. I debated with myself for weeks as to how to approach her. Finally, I found a "good" time and said something like this:

"I want you to know that I am enjoying your classes. You present some unique ways to accomplish some very difficult technical areas, which I feel could really help me. Would it be possible for me to ask you to explain it a bit more. I would love to understand your thinking on this." From then on, every time she looked at me, she smiled (in a curmudgeonly way, of course).

So, if you want help, ask for help. "I need your help" is a phrase that few people (especially teachers) can resist. And, NEVER use certain four letter words!

Four letter words? Like bad words? Oh, I would NEVER use such language!

These four letter words are a bit different than the ones generally thought of as "bad language" but they are total disasters in ballet class. Number one in that category begins with "C" (even now I hesitate to type it!)…..and is…"Can't." As in: "I can't do that step." It's known as the unutterable "C" word. The sound of that word sends the ballet teacher's blood pressure into the stratosphere. Her eyes film over with red. Her heart pounds. The proper response is another four letter word known as the "W" word - "Work!" As in: "I will work on that step." Ballet teachers are turned on by the "W" word.

Always let the teacher know you value her corrections with a "thank you," and a response that tells her you will work on it. She knows that results will not be instantaneous, she knows it takes time. And, she loves to hear that you will take her help, use it and work on it. (We sigh with pleasure as our blood pressure goes down. This is the kind of student we dream about.)

The "C" word is negative for another reason, too. You are indicating to yourself that you are starting from a negative position, rather than a positive position. The "W" word indicates hope for a positive outcome. If you evince negative attitudes, why should the teacher be positive about you?

Suppose I have a question that is not "germane"?

If you are unsure, approach the teacher quietly after (or before) class. In some schools even this is a busy time for the teacher, so request a quiet time to talk and ask questions. Again, ask for her help. A good teacher won't be able to resist.

The teacher seems to be helping other students, but not me, should I mention this?

Actually, if she is helping others, she is also helping you. Always pay attention to the comments she makes about others and apply them to yourself, and that will double your progress. I bet, that if she sees you are serious, working hard, listening, applying what she is says, you will get her attention in due course. Sometimes the teacher doesn't actively interact with certain students because she feels that they might not be ready to apply a particular technical nuance. Or, there are some students who let the teacher know, even subliminally, that they want to be left alone. Some students are disturbed when they receive attention. If you are not one of these, asking for her help will let her know you welcome her attentions.

Is it ever proper to give the teacher a gift?

Sometimes it is. You can be as innovative as you like. Gift cards to the most expensive shop in town. Your bankcard number so she can make withdrawals, is a nice touch. Birthday cakes, but forget about the candles. If you put too many candles on the cake it would be an unmitigated disaster, (this only works once a year so don't do it too often).

Seriously..... people often ask if it is appropriate to give a gift. A small personal gift at an appropriate time (like Christmas) is not amiss. It's not to garner her goodwill, only a way to say "thank you." You might check first with the receptionist or someone else in the studio as some teachers prefer no gifts at all for any reason. One of the nicest gifts I ever received was a splendid loaf of bread the student had baked. She put a lot of love into that loaf.

But an even simpler gift, and one that is easy to do, once in a while after class say "thank you, I enjoyed the class." It will make her heart dance.

Having taken years of ballet as a child, I wish I could find an exercise routine that includes the barre work and ballet music I still love - not a ballet class per se, but an adaptation for exercise. Do you know of any? (I had in mind an audio tape, but I could use a video).

I tried the NYCB Workout tape, but it was really a workout routine, not ballet, and too teachy and too slow. I've also tried adult classes, but they were depressing: the next-oldest "adult" was 18 or 19, many years younger than me, and the classes were classically structured with half the time spent on rapid combinations across the floor that my no-longer-teenage memory couldn't retain. In any case, there aren't any adult classes where I live now in Vermont.

PS I tried sending this as an email from the magazine link, but got a "mailbox not found" reply.

PPS Does Anjuli Bai have anything to do with Far Pavilions or is it just your name?

I am of two minds as I try to answer your question. The answer I always give to someone who wants to work on ballet exercises at home is "no." Let me explain myself.....please...

Most of the time people want to work on ballet at home as an addition to regular class or even instead of regular class. This of course in contraindicated. Ballet has to be learned with an experienced teacher. The component parts are too complex to be done on one's own. There are too many pitfalls, too much harm that can accrue both technically and physically. This is an art form that one can't learn on one's own. Even professional dancers don't work on their own.

But....

But....

I know that are times, especially when one has had years of class and one is past the time when one wishes to really dance, and one only wishes an adaptation of the ballet barre as an exercise regimen, working at home presents an opportunity.

With that basic premise in mind, let me say that I do agree that working with music you love, doing simple barre exercises can be an option. Unfortunately, I know of no exercise tape/program that meets this criteria. Frankly I have not investigated this aspect because I have never trusted it.

For a period of three years I was quite ill and only gradually have I been able to return to ballet class. I did work at home -it was my only recourse. I found music I loved and a good space (with a good floor) in my house. I designed my own exercises and kept it very simple. I think that if you don't push anything, like turnout, extension, etc. you should be safe. Please be sure to take things slowly and never ever stretch before being thoroughly warmed up. Start slowly and remember that "more is not always better."

Anjuli Bai is the name of the Indian princess from "The Far Pavillions." - you are right! I loved that book. I have heard that "Bai" means dancer - but I have never checked that fact.

I don't mind getting e-mails and would give you my address but I am not sure what the board rules are. You can always ask Bruce.

I hope this answer helps.

You should be able to send an email by clicking on the very first icon to the right of Anjuli_Bai's name at the top of her post - it kind of looks like an envelope. I won't state here the address that is then shown as nasty people may then use it for sending her spam. I hope that helps.

"The Teacher's Point of View"

Comments and questions are always welcome.

I tried the email icon for Anjuli Bai, both in the ballet.co postings and the magazine site (the address was different by one digit). However, both times I got messages back "mailbox not found." You may want to check that out.

A-B: In your response to my query about a tape for home, I appreciate your concern about possible injury . Still, I think a sensible tape would be something a lot of people might like. After all, you can hurt yourself with aerobics and other workouts too, if you go at it foolishly, and there are plenty of tapes and TV programs of them!

I too loved Far Pavilions. Did you read MM Kaye's autobiography? (2 vols, Sun in the Morning is the first, I think.) It's wonderful.

SF

Well, I don't know about the e-mail address problem. So, let me just put it in....

AnjuliBai1@aol.com

That's the numeral 1 after Anjuli Bai.

As for tapes.....I do know that lots of people use 'em and love 'em. However, it seems to me that after a while the tape is the same thing over and over, isn't it? Frankly, that would bore me. I enjoy making up different barre exercises all the time. And, I love using new music. I think it's good for both the body and brain to do that. But that's just a personal viewpoint.

I have to admit that I see an aerobics tape as different from using a tape for ballet. The goals, standards and structure are different. In ballet it matters very much how it looks, how it is done, and that needs an outside eye. But, again that just a personal viewpoint.

My teacher seems to love what she is doing….

Most teachers do. They are certainly not doing it for the lavish life style that teaching affords them!

What does a teacher see when she looks at the class?

She sees the class on a number of levels, each individual within the class and the class as a whole. She is also weighing both ideally and realistically what she would like to accomplish. Every class has a distinct character, just as the students within it have an individual character. Working to enhance the group as well as the individual experience is the teacher's task at hand.

It takes a great deal of energy to teach ballet.

More so than other subjects?

Teaching ballet, or other forms of physical movement, takes physical as well as emotional energy. I have found, after observing other teachers and in my own teaching experience over several decades, that the class rides on the energy of the teacher.

But if she's sitting down?

It really doesn't matter. There is an emotional flow, an enthusiasm for the subject matter, for the progress of the class, as well as the individual student, which drives the class forward. If that energy flags, the class dies. In teaching other subjects there is some "down time" - students are reading or taking notes, but in ballet class there is constant movement. The class energy is either going forward or backward. An enthusiastic teacher produces an enormously positive learning environment. There's also a constant subtext of psychological interaction. She's a bit of a psychologist too.

How so?

People come to class with not only individual physical characteristics, but also a panoply of emotional and psychic components. Ballet class is such an exposed experience. Everyone can see what everyone else is doing. Some people grow and bloom in such an environment, others wilt and shrink. It is the teacher's task to help each student find the path that will produce a good result. Some students like to be in the front, whilst others would rather not. If the teacher is skillful she can bring forth the shyest to realize that individual's potential. After each class I would ask myself "Did I somehow touch - connect - with each student today?" After a day of teaching, I found I was not only physically weary, but also emotionally spent. I had invested all I had.

Do all teachers plan for class? I see some have notes, and some don't.

Yes, I would say that all teachers plan for class, in one way or another. Syllabus teachers (which I am not) have more of a set class (to varying degrees), but just about every teacher I know walks into class with something in mind she wants to achieve that day. The exercises at the barre should prepare the students in specific ways for what she plans to present in the center. Some teachers take hours planning a class, others to do it in a matter of minutes. It doesn't mean that one method is better than another, it's just a different way of arriving at the same goal. Personally, I always came into class with an over-arching idea, to present a specific concept, and then I fashioned the barre in a way that would prepare the students (hopefully!) for that concept in the center. As for the actual choreography of the combinations, both barre and center, that I did in real time. But no matter how the teacher arrives at her plan for the day, or how much time she has spent designing the choreography for the day, she should remain flexible.

A teacher needs to be ready to abandon her plans to the exigencies of the day. If one sets a fairly complex waltz, but the class is having problems with something rather basic, it makes sense to abandon the complex and concentrate on the simple basics. One can return to the complexities another day.

Sometimes it seems like one or two people dominate the teacher's attention.

There are lots of reasons for this, some very good reasons, and sometimes less than good reasons. Let's concentrate on the good reasons. Some students are excellent sources for demonstration. They don't mind being singled out. The teacher very quickly becomes aware that were she to use a shyer student to demonstrate some particular technical aspect, that student would be devastated. Some people literally want to "disappear" in ballet class. Hearing their name called, or being singled out in any way makes them cringe. Others can't wait to have the teacher's attention.

It can get complicated. If I want to demonstrate to the entire class how to hold the abdominal muscles, I am not going to use a student whose stomach protrudes as this would call attention to something she most probably wouldn't want the class to analyze. I would correct that student individually rather than in front of the class. Instead I would either use myself, or a student who is doing it correctly. The teacher has to be careful when calling attention to various body parts because she is dealing with a student's self view, and the view that student wants to either project or protect from the world. There is also always the chance that there is a particular circumstance that could inhibit the student from correctly attaining a certain goal such as previous surgery, or other problem. A good rule is never to use any student to demonstrate something negative.

Another good rule is to connect positively. There may have been many corrections for a particular student, but surely the teacher can also find something positive to say to that student, too. Corrections can be stated positively.

Sometimes I wonder why another student is asked to try something and I am not. What does this mean?

Since everyone comes into class with an individual set of attributes, we all progress in different ways. Don't think of it as "good" or "bad" think of it as "different." For instance, a student who has a fast single pirouette that is not controlled, will be asked to slow down that single pirouette to gain control. But a student with a slower pirouette that is under control might be asked to try for a double. So, it's not a matter of speed, but control. Normally, one would think that someone who is speeding around in pirouettes would be a candidate to try for a double. At times the student's mind is ready, but the body is still catching up, and sometimes it's the body that is ready, but the student's mind has not as yet solidified the concepts that have already been presented. You can't judge your progress by others around you. Your teacher is the source for that information.

Teaching is a lot more complicated than I thought it was.

It's a lot more complicated than I thought it was too! The first time I taught class, I had to demonstrate every movement (it was a beginner class), count the music, set the exercise, correct and help each student, as well as be aware of the pianist….oh my! My own teacher made it look so easy!

If it is exhausting and fairly complicated, is it worth it?

Absolutely! Most teachers want to teach more than anything in the world! There is no greater joy than teaching something you love to people who want to learn, and hopefully end up loving it, too. Teaching is like casting a pebble in a pond, the ripples go way beyond what is immediately seen and as long as her students live and dance, the teacher lives and dances, too.

Suppose my teacher wants me to do something that I am not sure that I want my body to do?

This raises a very interesting question and it means walking a very fine line. It is true of both children and adults that the ballet makes demands on the body that it would not ordinarily be asked to do in general life. If you are the parent of a young student or you are an adult student, you need to take responsibility for what happens in class. There are demands which have a reasonable goal and a reasonable chance of success. We are talking about dance for mostly recreational learning and enjoyment, rather than strictly for a vocational goal. So, for the sake of this conversation I am going to avoid discussing training at a vocational level, though of course that also means one must work with great care and thought.

I know dancers are very limber and flexible, what happens if I can never do a split?

Well, dancing is certainly not about doing splits. One can work toward a full split, but the success or lack thereof in dance is not dependent upon attaining a full split. This is true of all the different types of flexibility; turnout, height of extension, backbend, etc. There is a difference between working thoughtfully toward these goals and being consumed by them. Your teacher should guide you carefully to work to your best, not a preconceived best, a dogmatic best. Your individual best. There does come a time when you have to be satisfied that what you have obtained is your best. Every body has limitations.

Maybe if I just stretch all the time……?

Stretching is something that should be done only when completely warmed up, for maximum safety and efficacy. And, it should be done under the supervision of a knowledgeable teacher. A good rule is nothing to excess, this includes pain. Actually, it especially includes pain.

Are there any things, props, machines that can help?

I think it's another good rule to avoid any artificial means. The body stretching against itself such as in doing a proper grand battement; or the body stretching against the floor, such as in trying for a split or leaning forward across outstretched legs; or the body against the barre, is fully sufficient to produce the desired goal. All stretching should be done under the guidance of a teacher.

And, I would add, don't let anyone push and pull you around. It is much safer for your body to stretch against itself, than to have anyone push and pull you around. A simple touch to indicate what is needed is enough, in my opinion.

Someone in class told me that my knees aren't straight enough, and someone else told me that my feet aren't arched enough…..

Well, it's always one thing or another that seems to need "fixing." But how and if it gets fixed is the rub. Everyone one has a different construction to knees and legs. To some extent one can work, by correctly using the ballet exercises, to rectify some problem areas. But it has to be remembered that there is a point beyond which the body will not go without great harm accruing. If you have naturally bowed knees (to whatever extent) this is something that can't be changed. You can learn to work with it, around it, and make it look better, but you can't change the basic structure. Unfortunately I have heard and seen some horror stories of dance students, and I am sorry to say some dance teachers, who did some pretty drastic things to try to alter the structure. One only goes down that road at great risk.

Suppose I am asked to do something I don't think my body should be doing?

Here's the fine line I started talking about earlier. You have to make a decision - it's your body and you are going to end up living in it long after your dance classes are behind you. You have to make choices. Many students are terribly intimidated and want to please the teacher and do what everyone else is doing, and therefore simply can't find the fortitude to say "no." But, sometimes the answer has to be "no." I have had that happen to me and I simply told the teacher quietly that I could not do it because of the risk I would incur. A responsible teacher will accept that, and even be glad that you told her.

Could you give me an example?

Yes, I can. I discovered that by doing grand plies (except in second position) I was putting my knees at risk. So, I faced the choice of either eliminating grand pliés from my vocabulary of movement, or end up with an early exit from dance. I can't tell you the time I had telling various teachers along the way that I would do two demi pliés instead of one grand to fulfill the demands of the music. Teachers glared, classmates sniggered, but the choice was mine. I chose the health of my knees. I have to say that after eliminating grand plié from my movement (except in second position) it never affected my dancing at all and I danced on for fifteen more years.

You are the guardian of your body.

I keep wondering how I am doing.

It's natural to wonder how we fit in: to question our place, to want some feedback on our progress. Everyone knows that competition can be both healthy (acting as a spur to progress) or negative, which is hurtful as well as wasteful.

I know it's probably not right comparing myself to others.

We know we shouldn't do it, but we all do it anyway. There always seems to be at least one perfect student in every class and we spend a great deal of time and angst worrying and comparing ourselves to that student. I have found it to be a great waste of energy because even if she were to leave, another is sure to appear.

Others in class seem to have higher legs than I do, does that matter?

I have found that the very items we use as a basis for comparison such as height of extension, number of pirouette rotations, etc., are the items that are not indicative of "dance." Height of extension or number of rotations, are just numbers. It doesn't translate as "dance." A beautifully controlled single pirouette can be just as captivating as one with six rotations. I've seen Baryshnikov prove that. It's more about the inner, intrinsic, quality that sets one dancer apart from another. This quality you will recognize in others. However, it will be almost impossible to see it or evaluate it in yourself. So, self comparisons are by nature subjectively unusable, unreliable and unrealistic. And consume too much emotional energy; energy better spent on other things.

I feel so awkward and others seem so smooth. They seem to be getting somewhere, but I don't see that in myself.

Let me tell you from personal experience, it's almost impossible to see yourself and measure your own progress because as you climb each step, you want to conquer the next one, so it seems you are always climbing and never getting anywhere. As the movement becomes part of your body, in some ways it will be easier, but it will also be harder for you to recognize this ease - in fact it will seem too easy and you will doubt it. When we deal with a quantitative thing like rotations in pirouettes, that's fairly simple. But realizing that something like your attitude is now a thing of beauty is much more difficult to self-identify. When you get to the point where the body hits the correct attitude line, your attention is taken up with the next difficulty such as promenading in that attitude, or balancing it in relevé, for instance.

I think we have all had the heady experience of having someone compliment us on something that we thought was utterly atrocious. We doubt the compliment because we can't see ourselves as others see us.

But surely one can't help seeing that others do some things better. Can I use that for my benefit?

You've put your finger on it exactly! Turn it to your benefit. Yes, you can. If one spends time and energy comparing one's "progress" against others one has therefore less time and energy for the task at hand. For instance, when the teacher sets a center combination and you spend time on negative thoughts such as: "Suzy ALWAYS gets the combinations quickly while I never do." This negative thought takes time and energy away from concentrating on what the teacher is demonstrating. It also shuts out the possibility of a positive result.

Instead you can use this for your benefit. You can learn from others, but that's entirely different than comparing. When I had trouble remembering enchainements I went over to the dancer in class whose ability in this regard I admired and I asked her for help. She gave me several great ideas which helped me enormously. That worked out better than fretting and sulking.

How about copying things that I admire?

There have been many times I have admired another dancer's "intrinsic" quality and tried to emulate it. However, by its very nature that quality cannot be duplicated though sometimes I was able to adapt it and make it my own. It gave me an inner vision of how I wanted my dancing to look, and somehow that does come through to others. Develop your vision. Reading, looking at pictures, attending performances will give you many visions of how dance looks.

On the other hand, just as comparing intrinsic qualities is subjectively unrealistic, comparing absolutes is a total waste. For instance, fretting that your feet are not shaped like Suzy's will not make one whit of difference. You can't reshape your feet. But, you can shape by how you use them. This then becomes the work at hand (or foot!). The dancers with "perfect" bodies for dance are very few, even among professionals. What you are seeing and admiring on the stage is the culmination of the work involved in the intelligent use of the less than perfect body. (When it comes to a less than perfect body - I have a great deal of personal experience!).

So, how do I know how I am doing?

Here are some things to bear in mind:

1. Don't spend time worrying if you belong in the class. If you didn't your teacher would tell you.

2. If you are wondering about your progress, don't fret - talk to your teacher. Don't ask as a comparison to others; just ask how you are doing. Ask what you need to work on. Your teacher may give you ideas you have not as yet thought about.

3. If you find yourself in a class in which you have progressed beyond the work presented, it might be time to move on. Discuss this with your teacher.

The question should be: "Am I ready for new work?" or "How can I work to improve?" rather than "How do I compare to others?"

Ballet is a process of constant learning. The greatest dancers in the world go to class every day and learn. Yes, they are still learning. When you get to the top of one level, you are ready to begin at the bottom of the next.

I have seen some studios that are so beautiful, and some that are so, well, off putting. Does it make any difference?

The most important thing about selecting a place to study is the teacher. Nothing comes before that. Well, almost nothing. The floor can be just as important.

The floor?

The floor is one reason that I would avoid a studio even if the teacher was terrific. However, usually a terrific teacher will not teach a class with a less than appropriate floor.

What makes a floor "appropriate?"

Resilience. The floor can be either wood or other covering, but it needs to have a spring to it. This gives a cushion to your body when you jump. It's crucial for the health of your knees, feet, spine - in fact, your entire body. You might not notice any difference immediately, but you will eventually. Don't be fooled by the floor being wood. Sometimes a wooden floor is placed directly upon a cement base which means there is no "spring." If a wooden floor is placed on top of a cement base it needs to be raised slightly up from that base. This is also true of other floor coverings. So, that's the first thing you check out. I suggest that when you call around looking for a teacher and a studio you ask about the construction of the floor. Don't feel silly about it, it's a great question and a good teacher won't mind at all bragging to you about how good her floor is.

Some studios get around this problem by having classes take place on upper floors; therefore you want to be especially careful when you find a studio with a class on a street level.

I guess that about covers floors doesn't it?

There is more! The floor shouldn't be too slick. That seems obvious, but you would be amazed at how many teachers would rather have a nice looking floor (wood or otherwise) to the detriment of the students. If a floor is too slick it will not only offer a hazard, but it will inhibit your movement as you just naturally hold back to avoid slipping. There are some waxes and finishes, however, like the ones used in hospitals, which manage a very nice shine without being slippery. Don't trust how it looks, try it out.

However, a floor can also be too sticky! That's almost as dangerous. If you are doing any kind of turns and your feet are sticking then your body will continue to rotate while your feet stick to the floor and your knees and feet will suffer. The torque (twist) will be in your knees and feet and that's really not a good thing to happen. A sticky floor can also make you stumble or jam your foot while doing things like frappés. So watch out for sticky floors, too.

The same can be said for using rosin.

Oh, I've heard of dancers using rosin.

Dancers use it especially with pointe shoes, but also new shoes or if the weather is dry and the floor seems a bit "fast" - slippery. But rosin must be used judiciously because it can become too sticky and you will run into the problems noted above. It is also possible for the rosin to get coated on the bottom of the shoes and make them the opposite - slippery! Dancers often carry a pen knife to scrape off the rosin from their shoes. And some dancers - uh oh - use rosin so that they can hold their turn out better. This is definitely a big time no-no. It's called cheating! And, your knees will pay the price!

Should a studio be a certain size?

Space is a major problem for studios. It is difficult to find spaces that have no obstructions like poles and such. I have danced in a studio with a pole, and while it is possible it is also very distracting. One ends up spotting the pole (to make sure it's avoided) rather than spotting the turns correctly. Such a space should be avoided by beginners, because they just aren't experienced enough to handle the extra distraction. Sometimes a studio with such pole will put lots of padding around it.

The dance space should be large enough to accommodate the students comfortably. While it is true that sometimes a large number of students just happen to turn up for a particular class, the teacher should make sure that the class doesn't get over approximately 15 people on a regular basis. Especially if it is a beginner (or almost beginner) class, it should have no more than 10-12 students. It's just not possible to do justice to more than 10-12 students at that level of technical ability.

You should be able to do things like grand battement at the barre without having to turn toward the barre severely (maybe a little bit!) to avoid kicking your neighbor. And in center work if there are 12 students in class, there shouldn't be more than two separate groups for any one exercise. Better yet, it's ideal if everyone can dance at once. When there are more than two groups too much time is spent waiting for your turn and the body begins to cool down and it's counter productive.

Some studios are so beautiful.....

Some teachers are lucky enough to find such space. The problem with ballet/dance space is that because it is "space" that is being purchased and that's exactly what the school can almost never get enough of, it's very expensive. It's not like an office where a couple of desks can be crammed together. I learned never to judge the teacher by the beauty of the space. But I do judge the teacher by the cleanliness of the space.

Oh yes! I have seen some studios that are really unsightly!

Some studios depend upon the students to do the cleaning in exchange for lessons. That's a good idea if the student upholds her/his part of the bargain. There is no excuse for dirt. This is especially true for dance class because the dancers often have more contact with the floor than just their feet! They often lie on the floor for stretching etc. And it also holds true for such things as dust because so much deep breathing is occurring and people are brushing up dirt and dust from the floors. Clean bathrooms are another must. Some of the places I have seen have really sent me scurrying away. An old place can be a wonderful facility, but never a dirty place. Old is not an excuse for dirty.

How about the temperature? Should it be heated? Should I look for a place with air conditioning? Or windows?

It is possible for the studio to be too warm in the winter - as well as too cold. Most studios err on the cold side. So, dancers dress up in layers. Ideally the temperature should be comfortable whether one is dancing or not. Natural sweat is a good thing if it is naturally produced - not by over heating the room.

As for air conditioning or windows or fans, I am a real bear about not dancing in a draft. Any kind of fan blowing directly on the dancers is definitely something I avoided completely. An open window on a pleasant day is wonderful! As long as the dust from the street (or too much noise) is not also coming in, windows are great. Air conditioning is my bane. I would never dance in air conditioning. I found it counter productive, dried out my nasal passages and invaded my chest. It's different when one is not dancing, but while dancing I avoided air conditioning or fans blowing directly on me.

I guess a studio can't be too large!

Well, strangely enough I have found too large a space just as difficult as too small a space: it becomes a problem of orientation. I also noticed that when I danced in a new place it took me a class or two to become acclimated. So, don't get upset when you come to a new place if you feel a bit discombobulated.

Discombobulated?

Yes, that's an official, sophisticated ballet term meaning - it'll get better!

This article in the series appears in the Sept/Oct. issue of the Ballet.co Magazine.

One thing I really like about ballet class is the music.

Moving to music is very special isn't it? There are times when you will feel that you actually become the visible expression of the music. As Balanchine said: "See the music, hear the dance."

Sometimes, though, I realize suddenly that I'm not really hearing the music, like I can't remember to listen to it when I am doing the exercises.

This is quite normal. Beginners especially are concentrating so hard on remembering the exercise and on figuring out which foot and arm goes where, or which way to move, that the brain shuts off the music. Our brains are wonderful instruments. They take in so much information, but sometimes it's too much information. The brain figures out what are the most important pieces of information to pay attention to, and then it shuts off the other streams of information.

Like if you are trying to figure out how to move, do a certain step and at the same time not bump into someone else, that's more important for the moment, than actually hearing the music.

Will that get better? I know it's important to listen to the music.

Yes, it will and yes it is. As you become more and more comfortable with what you are being asked to do, and it becomes more of a pattern with which you are familiar, then your brain will find the time and capacity to really hear the music. And, then the music will influence how you move.

Are certain kinds of music better for ballet class?

For beginners, usually because of what I mentioned above, the rhythms are kept simple so that it is easier to follow and incorporate into the information streaming into the brain. As you progress the rhythms will become more complex.

Well, I really meant, like, classical music? Or piano?

Most often for live music in class a piano is used, but in times past a violin was used, sometimes played by the teacher. Maestro Enrico Cecchetti, I believe, did this. I have taken a class with drums and harp which was very interesting.

The really important thing is that the music should be interesting. The rhythms and melodies for beginners should be simple but interesting with more complex rhythms and music for more advanced students. The music can be classical, show tunes, rock, pop, folk songs, whatever works. Some of the most amazing pianists are those who make it all up on the spur of the moment. I can choreograph spontaneously for class or stage, but I can't compose one note of music. So, it always amazed me to watch a pianist do this.

Am I right to assume that music played live is better than on a CD or tape?

Well, yes and sort of. Live performance is always wonderful, if the musician is up to the task. Playing for ballet class is a performing art, too. If the pianist is adaptable, has music of interest, can vary the rhythms, can conform to the needs of the teacher and the class, then it can be a marvelous experience. However, if the pianist is limited in his/her abilities, it can be a very dull time indeed.

Why did you say "sort of"?

One of the advantages of using a CD or a tape is that the varieties available are almost infinite. I used to love to choose orchestral pieces for my students such as waltzes with the full sweep of an orchestra. Music that has arpeggios, grace notes, rests, all sorts of complexities. This was, of course, for the more advanced student. I would work it in gradually. This keeps the student's imagination and attention alive and challenged. The only thing duller than the same music over and over again, is the same exact exercises over and over again. Both the teacher and the student get into a rut, and learning stops.

You mentioned that playing an instrument for ballet class is an art form - really?

Indeed, really. Once you have had a class accompanied by a true artist that specializes in playing for dance, it is an experience you will not soon forget. A musician with that kind of skill knows intuitively what will work with the exercise that the teacher has set. And, he also knows how the students will respond. I was once lucky enough to take a number of classes for which a pianist played who was a nationally known master of the art. He could make the music conform to the needs of each student as that dancer came down the diagonal. It was a wondrous experience. He made the music fit each dancer like a glove.

Different for each student?

Yes. It didn't often happen that we came down the diagonal individually, but when we did he could nuance the music to fit each one of us. When we came down in groups, he was able to average it out so that it worked for everyone. How he changed it for the men and women was quite interesting.

He changed it for the men and women?

Yes, he did. And it should be changed, too. Men and women move differently - well, that comes as no surprise! Women generally move more quickly in petit allegro and therefore they need a quicker tempo, whilst men could actually be injured if they don't have enough time to fully use their demi-plié and stretch out the Achilles tendon. On the other hand men move more powerfully in the large sweeping movements and powerful music will help them. The same thing is true in large jumps - men need time to attain their full elevation and to give a full stretch to the Achilles tendon.

So, should men always have different music?

If possible the men (and boys) need to do the moving exercises in the center separately so they can attain their potential without injury. Many times when a man finds himself the only male in class, the teacher might not think to have the music changed for him. This is of course true also for young males. They need their time and space to accommodate how nature meant them to move.

How about when men and women dance together on stage?

When men and women are dancing together such as side by side or with the man behind the woman and they are moving across the stage, as opposed to doing a stationary adagio, you will notice that the man accommodates his movement to fit hers. She moves as "largely" as she can, but it still usually doesn't equal his. So, he has to lessen the space he consumes to match her and the dance will look "together." Next time you go to the ballet and men and women are dancing together, watch and I think you will be able to see it. Of course, the challenge for the men is to do this without making their movements looked cramped.

Is there anything else I should know?

One more thing.....

What?

When you present your reverence and applause to your teacher at the end of class, don't forget to turn around and do the same for the artist who played the music for the class. You will get a big smile in return.

First lesson next Thursday I think.......

I am glad I could be of help.

Lots of luck with your lessons. Come back and let us all know how it went.

Sometimes I would give the world to remember the smallest figure... But nothing... Everything is blank...
And there is no adult course in my country... (Romania)...

By the way... Anjuli_Bai, thank you so much for sharing so much of your knowledge with us... I am reading it all the time and can't wait for "next number".
If you pardon the comparison, I imagine you being like Julliete Simone (Center Stage the movie).

Take care!

when not done with heart, dance is not to be called art...

<<<I have had about 3 years of ballet lessons back in my childhood, but now all I am left with is the split and a bit of the posture... I am 24 now... Could I ever pick up the lost time...?>>>

There is no reason why you can't go back to ballet class and really enjoy it and learn a great deal. I have had students who started at your age and even much later who were able to get a great deal out of it. Some of them went onto pointe and were able to perform in many venues.

I think you would need to consider yourself a beginner since it has been quiet a while since your last studied and you did mention that you are unable to find classes for an adult beginner. If there is a ballet company in your area you might call them and ask their advice. They might know of a teacher.

You might also call teachers in your area and ask if they would be willing to help you. I always found teaching adults an extremely satisfying experience. It has always puzzled me why teachers will concentrate only on children and teenagers, when adults are also so willing to learn.

I wish you every success and that you are able to find a class for yourself. I think you would find it well worth the effort.

<<<By the way... Anjuli_Bai, thank you so much for sharing so much of your knowledge with us... I am reading it all the time and can't wait for "next number".
If you pardon the comparison, I imagine you being like Julliete Simone (Center Stage the movie).>>>>

This is so kind of you - I do appreciate it.

The next in the series comes out with the publications of the Ballet.co Magazine. It's published in the magazine but I also post it here.

I want you to know that it is a great deal of fun for me to write. It speaks, I hope, to adult students who I so enjoyed having in my classes.

Do come back and let us all know if you are able to locate any classes and share your experience.

7 of us there - so just right really. Some with some dance background, but 2 or 3 of us with no experience other than watching our children!

Legs are aching already - but I gather it'll be worse tomorrow - I'll let you know (I started tap too in the Autumn - lesson on Friday evenings, so I hope my legs hold out for that....)

Had a fantastic time - and when we ended the lesson with a flourish of arabesques I understood why my children love it so much - what a great feeling!

I get cramp in my feet quite easily when I point them, but I found it wasn't really a problem during the lesson - probably too worried about what my legs were up to! Can't wait for next week.

Lots of luck to you!

I have this really silly dream. Someday, maybe, could I hope to dance on pointe?

That's not a silly dream at all. It's part of the ballet vocabulary.

Should an adult student even be thinking of this?

Unless there is either a physical reason or a technical reason to preclude pointe work I don't see why an adult student shouldn't try it. There are some teachers who feel that if the student isn't going to be on a vocational track, be a professional dancer, then there is no reason to study pointe. But I don't feel that way.

Why do you think it's possible?

There are reasons why a student should not go onto pointe, but a well prepared adult student without one of these specific contra-indications, should have this opportunity. It's the next step. It's a reward for a great deal of hard work. It's a goal. It's also a wonderful feeling dancing on pointe and I think that a teacher should allow this opportunity to occur if all criteria have been met. Age or vocational goal should not be the deciding factors. Well, that's my personal opinion, anyway.

So, you don't think it's a silly or hopeless dream?

Not at all. The hope is always out there - probably.

Probably?

There are certain things that need to happen and certain things that have already happened that make it "probably" rather than a "certain" hope. Some of these items are changeable and some are not. Let me explain. Some of us were made to dance on pointe and some of us weren't and to the extent that your physical construction is concerned you can't change that fact.

Some people don't have the correct type of foot, knee, and/or hip structure. The feet don't really pointe, the knees don't truly straighten and the hips are not aligned correctly, or turned out sufficiently. It is also possible that the foot overarches and lacks inherent strength no matter how much the student works. The structure will not support pointe work.

How do I know?

Your teacher will certainly let you know. But here are some things you can look for. It is helpful if your first three toes are fairly well lined up. If your feet are extremely tapered it is a bit more difficult, but not impossible. It is also helpful if your second toe is not longer than your big toe. Quite a number of people have this configuration and though it is possible to deal with it, it does present some difficulty. It is also helpful to have a well constructed arch to your foot.

So the bigger my arch is the better? It certainly is beautiful!

A large arch is very beautiful, but bigger is not necessarily better. Generally speaking, the bigger the arch the softer it is. I have seen dancers who literally spill out over their pointe shoes. I knew one who had to quit pointe work because she could not control this no matter what she did with her shoes. Her feet were simply much too flexible.

Maybe then, a very straight arch?

It is possible to go too much the other way! Some people have very little arch in their feet. They are almost concave. This is impossible to work with. A good test is that the dancer should be able to go up on pointe with the platform of the shoe in contact with the floor after she fully straightens her knees. Straight arches are a very strong construction, but not flexible enough to be useable on pointe.

Something in the middle would be best?

As with many things in life, moderation is often a good deal.

Does age have anything to do with it? Might I be too old?

Well, that's a possibility, but usually it's because the dancer is too young. A student should never go onto pointe before she is twelve years old no matter what the technical level of the child or how many years she has already been dancing. The bones of the foot are simply not ossified enough. But since you are an adult, we need not discuss that further here.

I once had a student who was fifty when she started pointe. She had all the other necessary attributes and she did very well. But, I'm not sure I would recommend it as a general rule. She had studied steadily for a number of years so she was an exception, rather than the rule.

However, certainly if the other criteria are met there is no reason why a student in her twenties, thirties or even forties can't undertake this part of the ballet vocabulary.

When can I expect to be able to try this?

As for time and date, that's fairly inexact because it depends upon how many classes per week you take, how long you have taken lessons and your individual physical construction. Your teacher is the final authority on this. And she'll be looking for a certain technical level to have been attained.

If I can't practice pointe before going onto pointe - then what technical things is my teacher going to be looking for?

Going onto pointe is a bit like learning to dance all over again. So, you need to have a good solid technical foundation.

Good mastery and control on demi-pointe is basic. She will be watching how your balance is on demi-pointe, on two feet as well as on one foot. How you maintain that balance as you rise. If your alignment is "there" or you keep having to fix and find it. Also important are both moving balance such as in promenade and pirouette, as well as stationary balance such as in arabesque and retiré. Your rise to balance should be sure and aligned the entire time. How little you need the barre for support and how swiftly you let go of the barre are certain indicators. And then she looks for strength.

How does that show up?

It shows up in a number of ways but is very obvious in petit allegro. How you jump from two feet and from one foot, and from foot to foot. She will look for an easy jump, controlled descent and fully pointed feet while you are in the air. Also when you are moving and/or in balance how quiet your ankle is and if your foot rolls either in or out. Even when you do something like a tendu, the strength will show up. The shape of the foot is important such as sickling in simple things like tendu or more complex movements such as frappé.

There's a lot that goes into this!

Yes, there is! The teacher has to be careful so that the student has every chance for enjoying the study of pointe as well as pursuing this study safely. This brings me to another subject that is a bit more difficult to mention.

Uh oh.

Weight. I don't really like to talk about weight because I think people get very sensitive about this issue and sometimes that leads to unhealthful results. However, it is important for the student to be of a healthful weight without being overweight to any great degree. The skeleton of the body doesn't change with our weight. Our bones have to bear us up and move us around no matter what we weigh. The small bones, tendons, ligaments of our feet and ankles have a lot of work to do and they weren't meant to go up onto pointe. If the student is truly overweight, I wouldn't allow the study of pointe to take place. This should be explained to the student in a careful quiet private manner.

If I go on pointe, will it hurt?

If you are technically ready, if your feet are within the acceptable parameters of construction, if you are fitted with the proper shoes, if you have the correct padding, if your teacher is careful and the study is well paced and thoughtful - yes, it will hurt. But, mostly at the beginning and it does get better.

For most of us the study of pointe is so engrossing and so worthwhile - that it is, well, worth it!

Order of the Barre

Though I have only had a few classes, I've noticed that the exercises we do at the barre always seem to follow the same basic regimen. Will that always happen?

There can be some differences from class to class and from teacher to teacher or even day to day, but mostly it follows the same pattern. Some teachers do exactly the same exercises, and some change them from day to day. But the order in which the exercises are done, generally speaking, stay the same.

Is there a reason for this?

One of the things I quickly learned about ballet class is that there is a reason for everything. Dancers are too busy to spend their time on exercises that have no meaning or don't help in some way with the learning process. Dancers and teachers have been working for almost 500 years to come up with a way to prepare the body for dance in the most efficient way possible. And this applies to the learning process, too.

How does the barre help the body to learn?

The body learns by repetition. However, too much repetition tires it. This is also true for the mind. If things are repeated too much our minds tend to zero out - we lose our concentration. So, the teacher has to design the exercises to deal with those problems. There has to be enough repetition so the body will learn, but not tire and to keep the mind engaged. This can be a fine line, and of course, is different for each individual. It's part of the teacher's challenge.

If you watch a baby learn to walk you will see how hard the baby concentrates on the process of walking, but then as the body learns the baby is able to concentrate on other things. That's true for dance too. Once the body learns the basics you can then start to think about other things like - smiling when you dance!

The ballet exercises at the barre are an efficient way to warm the body up so that it can dance more safely and effectively.

How does it do that? Pliés and such?

The barre starts with slow things and moves into faster things. It goes from low movements into higher ones. Gradually the tempo and the dynamic of the movement are accelerated. Pliés are a crucial part of the warm-up, especially demi-plié.

When you do a plié the muscles of the thigh begin to massage against the large artery that goes through your leg. This sends a message to the body that it needs more blood and oxygen in that area. Consequently the muscles warm up and are ready to contract and expand. Every exercise at the barre has a definite place and reason.

Can you give some examples?

Tendu avec (with) demi-plié begins to get the thigh warm, and also begins to use the foot as it presses out to tendu. The ligaments, tendons and muscles of the foot start to activate. The student can also begin to work on turnout and at the same time begin working on the alignment and stretch of the spine. All the components of the ballet stance - alignment - balance - start waking up and getting into place. It's like an opening prayer at a religious service. Actually, I always felt that the barre was like a religious ritual. I would come in leaving the rest of the world behind and begin to communicate with my inner world.

Next is tendu sans (without) plié. This is usually a bit faster, and the pattern more complex. The mind begins to wake up and the communication between body and mind is now open. Perhaps a simple balance on full foot while in retiré, and a simple slow cambré forward and back as a coda

It seems like tendu is pretty important.

Some people feel, and I am one of them, that tendu is one of the most important items in the barre exercises. Balanchine said he felt it was the most important.

Next generally comes degagé (battement degagé/battement glissé) and this is the first time the foot is lifted from the floor. There are usually two sets of degagé exercises: the second a bit faster and more complex than the first set. The coda here might be a demi-pointe retiré balance. The dancer should be constantly lifting her hand from the barre both during the exercises and during sustained balance because that's how you really know that you are in balance. Perhaps also a stretch side to side or over a tendu devant. (foot stretched to the front).

Rond de jambe a terre - is the first time at the barre that the leg is making a circle and this begins to wake up the rotational movement in the hip socket. Sometimes the teacher will put in a musical test of some kind such as syncopation or having the exercise begin on an "and" count, to remind the mind to listen to the music and wake up that sense. This exercise is often ended with stretching to the front and back, side to side and a more difficult balance as a coda.

Frappé and petit battement serré, introduce real dynamic movement, with more speed, quick precision and sustained turnout as in serré. Serré is a real test of isolating the upper leg from the lower leg. The patterns can be much more complex requiring fore-thought and reflex. Sometimes there are two different frappé and/or serré exercises, the second one more demanding than the first. Everything should be awake by now and ready for sustained work.

Next comes fondu, which is meant to facilitate smoothness of movement as the legs extend and close, extend and close - going from position to position. A much more sustained balance as a coda would be appropriate here.

Now rond de jambe en l'air was always the real test of stamina for me - kind of like the "hump" of the barre. Once I made it through that it was clear sailing probably because I had a particular teacher who seemed to make that exercise particularly difficult and excruciatingly long. It's a test of sustained strength as well as incorporating smooth execution. It, too, teaches isolation of the upper and lower parts of the leg.

Adage is often the most beautiful exercise at the barre. While every exercise should be "danced" - the adage is the place where the dancer can put her heart into the movement. Here is where strength, balance, alignment, and execution are really learned and tested. Some people think this is the hardest part of the barre, but I think if one listens to the music and pretends it's a performance, that keeps the mind from harping on the difficulty and satisfaction of accomplishment replaces it.

Finally, grand battement. Just as the adage is the culminating exercise for sustained extension, the grand battement is the largest in terms of movement at the barre. So now you can see how the exercises at the barre have progressed from small to large and from low to high and from quick to sustained movement.

A good stretch at this point is a wonderful idea.

So, every teacher should follow this format?

No, each teacher makes her choices for what she believes is best for that particular class. However, for the most part this is the order that is generally followed. Sometimes a teacher might put fondu before frappé. Or she might have a balancoire after the rond de jambe en l'air. That's fine. However, I would beware if there are any major changes.

What kind of major changes?

I went to a class once (it was taught by a retired dancer from New York City Ballet) and she started off with grand battement. I couldn't allow my body to do it. Beginning with such a large movement is just not a good idea. I don't think it's a good idea for anyone, but I was especially sure it was not good for me.

Did the teacher say anything when you didn't do it?

Well, she did look at me strangely. However, at that point in my studies I was sufficiently advanced where the teacher assumed that I probably had a good reason. However, I have not hesitated when there is a major change to quietly ask the teacher after class for her thoughts on why she had formulated the exercise the way she did. I did it not to challenge the teacher, but to honestly learn. And several times, I found it a good learning experience. It gave me a new way of thinking about things.

Does the teacher make up new patterns for each class?

Depends upon the teacher. Some keep the same patterns for a couple of classes, some for a week or a month. And some forever! Personally, I don't think that's a good idea because the body just gets used to doing the same patterns over and over again and the mind tends to lose concentration. Or at least, it isn't being challenged to stay alert. Personally, I really didn't like doing the same things over and over. For my students, I adored choreographing new barre patterns for every class depending upon who was there and what I thought might be helpful. Even when I taught several classes in succession on the same day, I just enjoyed making up new patterns for each particular class. It's also fun to have a barre with a theme to it.

Theme?

Yes! If I was going to spend time in the center teaching glissades or pas a bourrées, then I would design a barre with that in mind and incorporate those steps. Then the students would be better prepared to tackle those problems in the center.

Is the barre supposed to be tiring?

No, the barre is supposed to be a preparation for the center. Everything should be warmed up - even sweaty - and ready to go. After barre you should feel invigorated and ready to dance and learn in the center.

Even though you should always aim to dance your barre work, actual dancing takes place in the center.

The thinking behind all those exercises is a bit more complex than I would have guessed.

You could take any of the components of the barre exercises and write a book about each one of them. Well, at least a fairly lengthy treatise.

Can put their heart, surely?!

or "his or her heart"

I appreciate your response.

Thanks so much...

<<<<<When you were talking about the type of body that wouldn't be able to do pointe, what did you mean by the "feet don't really pointe, and knees don't truly straighten" ?>>>>>

In the case of feet....there are people with feet that even though they point them a much as possible, the arch/instep is quite inflexible and they can't attain pointe through the entire foot. The toes point - but there is no stretch through the instep/arch.

The opposite of this is the extremely flexible foot that when pointed attains the shape of a banana - this is generally a foot that has beauty but little strength. There are extremes of both too much and too little flexibility: and the best for ballet is a foot that does have flexibility but also has strength. Usually the more flexible the construction, the less strong/stable it is. One needs some of each: strength and flexibility.

Likewise there are people whose knees over straighten - they have hyper extended knees. And on the opposite end: knees that no matter how much the person straightens them - they still never look straight - they don't align in a straight line.

The test for each is: if you are up on pointe - can you remain completely centered over the platforms of your pointe shoes while the knees are straight? If, when you straighten your knees, your platforms cannot maintain contact with the floor - then you either have a foot that is not sufficiently flexible or you have knees that don't straighten sufficiently. Or some of each.

>>>>>>One of my knees is very slightly bowlegged (I have about an inch of space between the knees if I stand with my feet together parallel but I can tell that it is my left leg that causes this and my right leg is almost perfectly straight). Is this the sort of problem you were referring to? >>>>

If you have only one inch of space between your knees whilst standing either in parallel or in first position - your knees should give you no problems. As for one leg being straighter than another - that's almost always the case. Each of our two sides whether it is: hands, eyes, ears, chewing, legs, feet, knees, shoulders, etc., - are almost never exactly the same. Each side is different.

<<<<<Also I was wondering how you would tell that your hips are not aligned correctly?>>>>>

In the ballet the basic concept is "the body square" - hips and shoulders make and keep that square no matter what else the body is doing. Anything that changes that square is done for artistic reasons - as in epaulement. That is purposely done for artistic reasons.

You can test the alignment of your hips in the mirror as you either face it or stand sideways to the mirror.

In arabesque do the hips remain level (across the top as well as side to side) one to the other? Or do you hike one hip in order to raise the leg? Or do you allow one hip to swing back to accomodate the arabesque leg?

In a la seconde do you raise the hip in order to raise the leg? The hip will rise to some extent when the leg gets much beyond 45-90 degrees - but are you raising the hip to raise the leg or is the hip following the leg?

In preparation for pirouette - is the hip swiveling to windup into the turn?

In balance - can you readily - and immediately - let go of the barre at any time? And then come down smoothly? This isn't a guarantee that the hips are level but it is a fairly good indicator.

When you are at the barre standing sideways to the mirror, as you watch yourself in the mirror as you go through the various barre exercises - is the hip moving along with the leg or are you able to separate the movements of the leg and keep the hip still while the leg keeps moving?

When stepping into a piqué balance (front/side/or back - do you leave the hip behind? Or the shoulders behind? Both hips and shoulders come along instantly as one "body square" unit into the balance.

There are some of the questions to ask yourself as you work and check in the mirror.

Also talk to your teacher about it. Your teacher is a terrific resource.

I hope I've helped. Please ask if I didn't make it clear.

Order of the Center

You've mentioned earlier that there is a fairly specific set of exercises at the barre, is this true of the center too?

Yes it is, not so much an order, but a progression. I think I stated previously that the student's goal should be to "dance" the barre exercises, not just "do" them. When you get into the center this is where that concept pays off. But, back to your question....once again, just as at the barre, the movements in the center go from slow to fast, from small to large and from low to high.

The barre is supposed to prepare me for the center, but it feels so much different than the center.

It is different. Suddenly the body has to rely upon itself for orientation to the space around it. Even when the student uses the barre correctly and doesn't lean on it, or hold it too tightly, and remembers to let go often, even so the barre offers a solid point of reference. In the center that point of reference is no longer available. The mind likes to orient itself to solid objects it can see, feel and touch. Part of the problem the student confronts is learning about the space surrounding her and her place within it as well as her spatial relationship to other students, the floor and the walls. The larger the amount of "empty" space between our bodies and other solid objects the more disoriented we tend to feel.

So, it's almost like starting again.

To an extent, yes. The body should be warmed up from the barre work and ready to add the difficulty of space orientation. That's another reason why the center work starts off rather slowly. There are some teachers who start the center off with something fairly dynamic to get the class moving. However, I always like to start the center off with a tendu exercise that orients to the four corners of the room as well as the flat surfaces of the walls (which includes the mirror wall). So, a tendu exercise that includes a turn of some kind and changes direction seems to me like a good idea. Within this I like to incorporate a balance such as a preparation for pirouette in retiré passé. Then when the exercise is repeated, that balance becomes a slow pirouette. In addition, I like to include a turn such as a soutenu which is a sustained turn on two feet as well as a pirouette which is a turn on one foot. There are an infinite number of combinations using these simple movements as a beginning of the center work. I also like to explore all the positions of the feet in this first exercise: first, second, fourth and fifth so the body and mind can adapt to the different stances of weight placement.

If the barre was well designed by the teacher, the student should be ready to do this without problems.

Then what?

Next the teacher might present an adage or a slow, simple, almost sur la place, waltz enchainement to get the feeling of moving. But mostly at this time I like to give an adage. The adage should cover several components and concepts.

There are components to an adage?

Yes, indeed! The adage is an enchainment done slowly that includes extensions of the legs - this should be done to the front, side and back. The legs can alternate or not, occur in any order - the important thing is that each leg should extend to each of those positions: front, side and back.

The adage should include port de bras (movement of the arms) coordinated with the legs. This takes a long time to learn so it has to be started early. It will be a simple design for the beginner but it should be there.

The adage should incorporate two kinds of balance: moving and stationary. An example of very simple stationary balance is when one leg does a developpé whilst the other maintains the balance. An example of a moving balance is a promenade. A pirouette is another example of a moving balance.

The adage enchainement should also present the three possibilities of leg and body interactions:

1. The extended leg and body moving together such as in a promenade in arabesque or attitude derriére/devant.

2. The body changing direction while the extended leg remains stationary such as in a pivot.

3. The extended leg moving while the body remains stationary as in a grand rond de jambe en l'air.

The adage combination should include changes of direction (corners and walls) and include at least one turn. A stretch of some kind such as a cambré is also a good idea, too.

The adage should not only be an exercise but it should also give the student an opportunity to experience beautiful inspiring music; it should be uplifting, not heavy and dull! The adage should give the student ample opportunity for expressive dancing even if the enchainement itself is simple in design. From the very first lesson, however rudimentary the adage exercise, opportunities for expressiveness should be incorporated.

Oh yes, I forgot to tell you that all exercises in the center should be done at least twice; once is just not enough. The first time the mind and body are struggling with it, the second time is almost always better. However, just as at the barre, if twice or thrice is good, that doesn't mean that 33 times is better. Too many successive repetitions are harmful.

Now the student should be ready for a waltz....

I love the waltzy stuff!

Well planned center work should have a waltz....something to get the students moving across the floor. Depending upon the technical proficiency of the students a slow waltz can then be sped up. The important thing is to teach the dancers to cover space. They should feel the pulse of the music, be moved by it and feel the wind going by their faces. That's really addictive!

Now for petit allegro......

Well, I have to admit that's my least favorite.

It was mine, too, until I had a particular teacher who was a real bear about petit allegro. I just dreaded it until one day I realized I loved it! Eventually, the faster and more intricate it was the more I loved it. It's like anything else, if you practice enough and become good at it, you will suddenly find you love it. I like to feel the syncopation between the steps I am dancing and the music.

This particular bear of a teacher (who turned out to be a loveable teddy bear) always said that petit allegro is not taught enough - and I agree with that. It is sadly under taught both in length and complexity.

But it's so fast! Can't the teacher start it slowly and then work up to a faster tempo?

Most teachers do that but it's a good idea only to a certain extent. It shouldn't be absolutely too fast for the technical level of the students, but it should be just a bit faster than what they are comfortable doing. It should push them a bit. Also, one finds as one gets stronger that petit allegro is actually easier when done faster. However, if the teacher makes it a constant thing to always start slowly and then gradually work up to a faster tempo, the body and mind will resist learning anything at a faster tempo right off. So, the teacher has to walk a fine line between what is possible for the students and what ends up teaching a lazy habit. Learning everything slowly ALL THE TIME can become a lazy habit.

By the way, petit allegro can be given before the waltzy stuff - that's okay too. But I like to precede petit allegro with an exercise with movement, such as a waltz, as well as a bit of a short warm up jump like changements before getting to petit allegro.

It's now time to turn.

Haven't we already had turns?

As part of the previous exercises, yes, but an enchainement that includes successive turns and a combination of different turns is necessary too. Of course, this needs to be geared to the technical proficiency of the students, but they need to learn both concepts: doing successive turns and also knitting together different kinds of turns. So a series such as chainés, piqués (both endedans and en dehors) is necessary. Combinations of different pirouettes: en dedans, en dehors, preparing from various positions (first, second, fourth, fifth) and landing in different positions (first through fifth), changing directions, as well as ending in arabesque, attitude (both devant and derriére) or a la seconde. Two footed turns, one footed turns, turns in the air, turns that move, and those that are sur la place, as well as those done very fast contrasted to those that are slow and sustained. All this needs to be covered, not at once of course, but through successive classes.

Now for the piece de resistance....

Lunch??!

Well, not lunch - but dessert! The grand allegro with all the fun stuff of big jumps, big waltz steps, and really feeling the wind in your hair. I've never met a dancer who didn't love this part of class the best.

This is where it is so important to keep in mind all of the protocols of courtesy and safety in ballet class such as going down the diagonal within your group: not crowding the dancers around you. Never stop in the middle. If you get "stuck" - can't remember what to do or something else happens - keep moving and run off - just don't stop in the middle!

If you are coming forward from the back of the room to the front - go all the way to the front and then walk along the front wall until you get to the sides of the room and then go to the back. Never stop in the middle. Never walk back into the oncoming dancers.

Don't talk and disturb other students because they are probably trying to remember the combination.

Don't wear something that might fall off like a hair ribbon, earrings or other loose bouncy stuff. It could fall off and the next dancer might step on it and slip or it might hit them in the face.

And finally, the teacher should give something to bring the class back together, cool down with a little stretch and then the reverence.

Yes, this is where everyone comes together in the center and says thank you to the teacher.

You should offer your teacher your reverence and don't forget the pianist. Work on your reverence just as you do the rest of your dancing. Learning how to bow and/or curtsy graciously and generously takes time and thought. Most classes also applaud the teacher. Give yourself a bit of applause too. You earned it.

Expanding the Class Schedule and What Can be Done Outside of Class

I really, really love my ballet classes and so I would like to do more than I am doing now. What should I do?

Now that you are enjoying your classes and are gaining knowledge and confidence the person to consult is your teacher. Tell her how much you enjoy the classes and that you would like to further your studies. She will tell you if she thinks you are ready to expand your schedule and if there are classes to accommodate you.

Does it have to be on the same level?

Actually, no it doesn't - not entirely. Many times a student will benefit from being part of a class that is slightly ahead. However, the student has to be mentally prepared to deal with such a situation and have the patience to cope with this kind of challenge. It is ideal, of course, for the beginning student to expand the schedule of classes within the same technical level - at least for a while. That gives the student another chance during the week to work on the skills and challenges, both mental and physical.

Well, if once a week is good, and twice a week is better, why not everyday?

There is no doubt that once a week is good and twice a week is better, but I would not recommend every day for a beginner, at least not at the beginning. When the study of ballet is undertaken three major adjustments have to be made:

1. The mind has to become familiar with the particular concepts it is asked to understand.

2. The mind has to learn to transmit those concepts to the body.

3. The body has to learn to turn those concepts into action. Even if those three basic elements are quickly assimilated, actually performing them is not possible in a hurried manner.

Why is that? If the mind understands and the body understands.....?

The body doesn't just have to learn, to understand, it has to become capable. That capability is acquired slowly. For some people the bridge between the mind/body is quickly made. However, the body still has to actually make physical changes in order to carry out the orders it receives. Muscles have to reform, tendons to respond. Balance is re-sensitized to new criteria. Walking or running or remaining upright is no longer adequate, much finer sensibilities are now demanded. All this takes time. Muscles don't change over night.

Rushing this process can result in injury, frustration and/or burnout. So, a slower expansion of class schedule is recommended. After 2-3 months of two classes weekly, then a third class. Three classes a week at the end of the first year is most probably enough for good progress. There are exceptions to every rule, but I think this is a good general statement.

What if I miss a class, should I work on things by myself?

Ballet is a study that is done under the supervision of a teacher and in a classroom setting. Private lessons can be an addition to regular classroom study, but there again under the supervision of a teacher. Working by yourself in not recommended.

Why can't I give myself a class?

I am not going to say that one should never ever give oneself a class as a rare event. But it is not the way to efficiently and efficaciously learn ballet. In the study of the classic dance the body is being asked to do things, such as turnout, which are contrary to the way the body was naturally designed to move. This structure has to be learned incrementally, each segment building upon the other, one segment not overtaking the next until sufficient strength and understanding are attained. Only a teacher can guide that process. The student needs someone with a knowledgeable eye and mind to supervise that process.

I have seen tapes with a ballet workout.

Yes, I have seen them too. But a tape is not a teacher. How each student processes the learning experience and how each body physically responds is very individual. A tape can't address those issues. A tape can tell you to turn out your feet from the hips, but only a teacher can check if you are truly doing that correctly.

Even with a mirror you can't possibly see yourself as you truly appear and beginners have very little idea of how they should appear or how it should feel.

It's no accident that all the professional dancers, even the greatest of them, never outgrow their need for a teacher in a ballet class setting.

Are there other exercises or regimens that one can do that help?

For many years it was thought that if one truly wants to study ballet almost all other forms of physical exercise were counter-productive. Swimming was generally thought to be the exception to the rule. However, this has changed. Many dancers take Pilates, Alexander Technique and other schools of movement study. Ballet dancers also study folk dance, modern/contemporary, as well as other forms of ethnic dance. But, for the ballet dancer, nothing replaces the daily class. The other classes are in addition to the daily ballet class.

Are there some forms of exercise that are really not recommended?

It depends upon how seriously you want to pursue your study of ballet and how much you want to incorporate it into your life. Generally speaking, many track sports such as running are not recommended, or anything that would compromise or tighten turnout. Horseback riding and riding a bike are thought to use muscles differently than a ballet dancer would. A physical therapist would be a good person to consult on this matter, but be sure when you do that you consult a therapist who truly has an understanding of the structure and demands of the ballet.

So, there's really very little I can do other than go to ballet class.

There are many things that you can do which aren't physical at all, but will truly enhance your dance experiences.

Such as?

It is of great benefit to watch others dance. Go to performances. Watch tapes/DVDs of wonderful ballets and dancers. It's amazing how this will become a part of your vision of dance and will infuse your own movement. Read about dance history and you will begin to see yourself as a part of that history. Many dancers have written about their lives or their views of dance - this is always instructive to read. And there have been many wonderful biographies written by others about great dancers and dance companies. All of this is very instructive. It will give you a context. A tendu will no longer just be a tendu. You will see it as a basic, but important, building block of ballet. It has an historical context, it's much more than just extending your foot and pointing your toe.

Sounds like this part of learning about dance could be helpful too.

Not simply helpful, I would say invaluable.

You can test the alignment of your hips in the mirror as you either face it or stand sideways to the mirror.

In arabesque do the hips remain level (across the top as well as side to side) one to the other? Or do you hike one hip in order to raise the leg? Or do you allow one hip to swing back to accomodate the arabesque leg?"

Ah! Thank-you! I 've been doing the nyc ballet workout for ages and didn't understand what the instructor meant when he kept saying "don't lift your hip" It makes sense now.

>Yes, there is! The teacher has to be careful so that the
>student has every chance for enjoying the study of pointe as
>well as pursuing this study safely. This brings me to
>another subject that is a bit more difficult to mention.
>
>Uh oh.
>
>Weight. I don't really like to talk about weight because I
>think people get very sensitive about this issue and
>sometimes that leads to unhealthful results. However, it is
>important for the student to be of a healthful weight
>without being overweight to any great degree. The skeleton
>of the body doesn't change with our weight. Our bones have
>to bear us up and move us around no matter what we weigh.
>The small bones, tendons, ligaments of our feet and ankles
>have a lot of work to do and they weren't meant to go up
>onto pointe. If the student is truly overweight, I wouldn't
>allow the study of pointe to take place. This should be
>explained to the student in a careful quiet private manner.
>

One of the teachers I go to is willing to teach adults to go on pointe
once she feels they are ready. Regarding weight, how much overweight do you mean by 'any great degree'? I'm in my healthy weight range, but would it be 'better' to be at the bottom end of that range?

Also, regarding the mechanics of the foot, my teacher randomly commented in class that I had 'good' feet. Is that a good sign for pointe, or am I getting my hopes up prematurely?

If you are in a "healthy weight range" - that's good! Less is not always better. Your teacher should be the judge as she can see you. It's not a matter of numbers on a scale. It also has a lot to do with size of bones - some people are big boned, and some more delicately made. And muscles weigh more than fat. So it's not a matter of numbers on the scale.

<<<<Also, regarding the mechanics of the foot, my teacher randomly commented in class that I had 'good' feet. Is that a good sign for pointe, or am I getting my hopes up prematurely?>>>

Well, it's certainly not a bad sign! If your teacher said you have good feet - take the compliment and enjoy it.

About your hopes.....talk to your teacher. Tell her that eventually you would like to study pointe and ask her what she thinks of your prospects. She can see how you work, how you progress and give you a more accurate reading.

I will talk to the teacher at the next class about pointe. At least then I'll know one way or the other.

Thanks again

I know there are many people who use and love these tapes, however I must say that it is precisely for the reason stated above - not having a live instructor to answer questions - that using a tape is counter productive to real learning.

Ballet is taught "hands on" and a tape simply can't fulfill that necessity.

I'm very happy that my explanation was helpful to you.

I just love my teacher, but I've heard that some people go to more than one teacher- is that true? Is that a good idea?

It is true, and it can be a good idea. In fact after a while it is a very good idea.

What do you mean "after a while?"

I think that a beginner should stay with one teacher for at least the first year or two. That will give consistency in how the work is presented, in how to think about it, and it helps to keep the student from getting confused by different methods before the student is able to have a firmer judgment about different ways of doing things. So, that's the advantage of staying with one teacher for the first couple of years. But, much after that, there can be disadvantages.

If the teacher is good, why would there be a disadvantage to staying with that one good teacher?

No matter how wonderful a teacher is there will always be an area or two in the technical vocabulary that the teacher is either not covering or doesn't cover enough. But it's also that each teacher has a fairly specific way of presenting material, it can be as recognizable as a thumbprint. This usually happens without her realizing it. For instance, she might always start a glissade to the side with the back foot. Something as simple as that will get the student used to always beginning a glissade with the back foot and then when asked by subsequent teachers to start with the front foot, the student has to make an adjustment.

The body loves to fall into rote movement - it's programmed to do that.

It is?

Well, yes. We are programmed to walk without thinking about it. The body looks for similarities, the muscles and brain learn and then it's on automatic pilot. That gives us the freedom to think about other things whilst we are walking. Watch how carefully a baby concentrates when it first begins to walk. But once we do that, unless we are hurt, we don't think about how to walk any longer - we just do it.

Is this true of dance?

The dancer needs to be ready to adjust to anything that is asked of her/him. But if you are always instructed to begin a glissade with the back foot, when suddenly asked to do it with the front foot, confusion sets in.

Every teacher, no matter how great, has certain set ways and methods she is surely not even aware of. But aside from muscle patterns, the teacher presents a palette of thought patterns that are unique - certain ways to think about things.

So you think I should have a second teacher?

If you are not a brand new beginner, if you are into your second or third year of study, I think you should definitely consider it. Ideally, one teacher should compliment the other. If one teacher emphasizes adage, then find a second teacher who emphasizes allegro. It would also be interesting to take class from a second teacher who is a different gender. Men and women move differently, and it can be fascinating and instructive to take classes from both. There is much to be learned as a woman from a male teacher and vice versa. It introduces a new perspective.

It's also a good idea to dance in another studio. Sometimes we get so used to a particular studio that a new room is a bit disorienting. Dancing in rooms of different sizes and shapes presents a new learning experience.

But, you know, my teacher might get angry or hurt if I take class from another teacher.

That's true. Many teachers do feel threatened when the student takes class from an additional teacher or two. However, if she really thinks about it, she should feel happy that it was she who inspired you to continue and expand your studies. Taking class from an additional teacher is not a rejection of the first teacher. It's an expansion of the student's horizons. A good teacher will understand that - she probably did it herself when she was a student. I've never heard of a dancer who was the sole product of one particular teacher. It may have happened, but I've never heard of it. There may have been one particularly important teacher in that dancer's life, but most probably not the one and only teacher.

A good teacher will want you to expand your studies and she'll be proud to know that she has been a catalyst for that.

Should I tell my teacher?

That's a very interesting question. I'm not sure that one should make a point of going up to the teacher and making an issue of telling her. But, certainly if the issue comes up in a natural way, then certainly - honesty is best. You shouldn't feel defensive about it and the teacher shouldn't make you feel defensive. If it comes up, let her know that it was she who inspired you to expand your studies.

However, I should caution you to never make statements in class that compares the methods and manners of the various teachers whose classes you attend. Discussion in class that includes such statements as: "My other teacher says this or my other teacher does it differently" - just invites an unfriendly atmosphere. It sets the teachers up as antagonists.

When one teacher does things differently - just add that to your repertoire of knowledge. You can, however, ask for clarification such as: "I have seen pirouettes done a bit differently, can you please tell me why you wish them done as you are requesting. I would really value knowing your thoughts on this." When a teacher is asked for her insight in a way that is truly a quest for knowledge, she can't help but respond positively.

Just let her know by your attendance in her class, your interest in her instruction that she is important to you and that you value her. A good teacher will respond accordingly.

When to Consider Changing Teachers

A friend of mine told me that her ballet teacher is teaching some things in a different way than my teacher does. She wants me to try her class. Is this a bad idea?

Trying another class isn't bad idea at all; in fact it can be very instructive. You can learn a lot about yourself, your progress and your teacher by exploring other classes once you are beyond the basic phase of learning ballet technique.

How so? Isn't ballet the same everywhere?

The basic principles are the same but how they are taught is as different as each teacher is different. Every teacher communicates in a different way, even if it is the same information. As a general rule, it can be very beneficial to change teachers, or at least take another class, once in a while. And there are some instances in which it is a definite necessity.

What are those instances?

Even the best teacher can overlook some areas and details. Sometimes it is beneficial to have a "new" pair of eyes watch us while we work. It is not unusual for a ballet teacher who sees her students day after day, year after year, to have her "view" grow stale. After a while she might not really "see" the details that a new pair of eyes would see. She might have become tired of issuing the same corrections year after year. Teachers are as prone to burn out as the rest of the human species.

A new teacher may have other ideas about how to solve or approach a particular problem the student is having. No matter how brilliant one particular teacher may be, it is unlikely that any one person has all the answers.

And just as likely it can be burnout on the part of the student who hears the same corrections over and over and after a while doesn't truly hear them.

Sometimes it seems to me that when a new student shows up in our class she or he gets all the attention.

That does happen and there are a number of reasons for it. As I mentioned above the teacher can be a bit burned out with the regular students and the new student presents a refreshing change. That's tough on the regular students, because they are still working hard. Having had that happen to me when I was a student, I can well understand how discouraging it can be. On the other hand, often having a new student in class can reinvigorate the entire class and if one applies the corrections given to that new student to oneself, there is still much to be gained. Corrections specifically aimed at oneself are not the only way to learn.

I hate to say this, but sometimes I think that the teacher has steady favorites.

That's another good reason to change teachers. There shouldn't be any "favorites" in the class. There will always be some students who are able to do the work at a higher level of accomplishment, but that shouldn't alter the teacher's interaction with those students who are less accomplished. I see that as another sign of teacher burnout. She's spending her energies on those she likes.

My friend showed me some steps she does in a way much differently than I learned them. We are at the same technical level, but she knows more ways to do the same steps.

Every teacher, no matter how brilliant and well intentioned, will eventually in her career formulate a structure to her teaching and this affects the vocabulary of steps she presents as well as how she presents them. The way she instructs, corrects, presents material, and choreographs for her class may over the years lose some of its spontaneity. She may without even realizing it stress some parts of the ballet vocabulary over others. It's human nature to emphasize what we love best.

The student's mind and body begins to assimilate these patterns and just as the teacher has fallen into somewhat of a rut - the student unwittingly follows. The problem becomes very obvious when the student changes teachers or tries out for an audition, or upon some other occasion is exposed to the thinking and choreography of another teacher. Suddenly the student finds that what she thought she was able to do she now is having a great deal of difficulty doing.

Such as?

I had a teacher who gave very fast petit allegro. I had no trouble with it at all. However, a couple of years later when I attended another class (as a guest of a friend) I found that all of a sudden I couldn't do the petit allegro presented in that class! I was horrified!

The petit allegro wasn't faster than I was used to doing, nor more complex - but instead it was longer! I simply wasn't at all used to memorizing and then dancing a longer petit allegro! Without realizing it my regular teacher had fallen into the rut of giving short petit allegro exercises and as her student I had only achieved the ability to perform short sequences. It took me some time and a great deal of effort to expand my range.

The problem is you don't realize these problems are accruing until they have already happened. So going to other classes - once you are beyond the basic technical phase - is an extremely good idea.

Suppose I try another teacher and I don't like her and I want to come back to my first teacher - won't she be angry?

She might be, that's true. However, if she is a true professional she'll understand your need for either an occasional or even a permanent change. We all need refreshment. We all get burned out. Exploring is a big part of learning.

I didn't realize - or think about - the possibility that the teacher can be burned out.

Many teachers teach in a void - they may have few other teachers with whom to interact and exchange information. But even if they do interact with other colleagues many times no one is willing and able to bring possible gaps to their attention. Who would do it? The students can't or won't. Other teachers are hesitant.

I think it is incumbent upon the teacher to spend some time observing other teachers. She can attend classes, seminars, read journals. She can even ask a trusted colleague to observe her work and critique her. That takes courage but it is surely worth the effort. Another good idea is for her to occasionally tape her class. We get an entirely different perspective of ourselves when we can sit back and observe. Instead of being caught up in the moment we get a wider view of how we come across as teachers, the response of the students and the vital importance of the atmosphere of the classroom.

So, I should go take other classes and perhaps change teachers....

Absolutely! Think of it as a fledgling taking flight to another tree and looking at the view from there. You can always fly back to the nest - only the chances are you won't fit into it any longer. And that's a good thing!

And, if you are like most of us, we always carry our first teacher in a special place in our heart. I know I do.

i have just discovered this thread and i know that you will have some words of wisdom in answer to this question!

What i was wondering is: (and i'm sure this is very subjective and may have been covered before) what do you think is considered when assessing the potential of a young dancer? My daughter is eight and has just auditioned for the Royal Ballet junior associates. There were so many of them going for so few places that i can't imagine how they can possibly discriminate between them, as I am assuming that the majority there are of a reasonably high standard to start with. How important is flexibility at this stage? My daughter's is increasing gradually but still has some way to go!

thanks in advance!

First of all - most important of all - is the commitment of the youngster. There has to be a fire in the belly. This fire will not be there everyday, but it has to grow year by year. It's important to assess that the fire is coming from the child, not the parent. Sometimes the fire damps down a bit, or is not as strong initially - but in the aggregate has to grow with time. Keeping this in mind, it's always important that the child reserves the right to say "no."

Flexibility is not the be all and end all. Most children are more flexible than adults, but this is not true in every case. The flexibility has to be coupled with growing strength in order for that flexibility to be of use. A body that is in balance - flexibility with strength - is the most easy to train and of the most use. Actually, soft muscled dancers have great difficulty in keeping their aplomb, alignment, stability. So when judging flexibility, you can't judge it alone without the strength component.

Musicality - the student must have a response to music. Some of this is innate and some of it can be taught, but the bedrock response must be there.

Work ethic - the dedication, commitment and willingness to accept delayed gratification - appropriate to the age of the student - are necesssary ingredients. This can be taught to a certain degree, but we have to accept the fact that some of us are more willing to work steadily, quietly, for long term gain and some of us are not. It's not always "good" work habits versus "bad" work habits - but a difference in personality.

Luck - the child needs some luck. Parents able and willing to help without superimposing their own ambiitons upon the child. Parents who can provide an atmosphere conducive to the child's physical and mental welfare. Good general health, relative freedom from the general injuries of childhood are necessary too. And good teaching.

Mental stability - a child who can not only accept delayed gratification, but also accept constant (though gentle) correction.

Good teachers - this is the other half of what is absolutely necessary.

Physical attributes: besides the necessity of acceptable (useable) flexibility/strength, one needs a body that is constructed with a ballet turnout. This doesn't have to be a complete turnout (very few have that), but a turnout to an acceptable degree - that is unforced.

A back that is strong but also malleable.

Feet that will be able to endure the vicissitudes of pointe work, but at the same time curve into a beautiful line (this is becoming more and more extreme these days).

Proportions that are pleasing. Margot Fonteyn was an example of perfect proportions.

Grace - this can certainly be learned, but some bodies do move more easily than others.

Adding to the subjectivity of all the above, one has to realize that everything changes at puberty. The change can add to the assets - or not.

So, to sum up - it's a combination of attitude, desire, work habits, ability to learn, musicality, flexibility, strength, physical construction and luck.

Combing through all that at an audition is the problem.

As we all know the changes at puberty are not just physical, or emotional, but also changes one's perspective. Many girls at this age drop out of ballet, other things become important to them, or they just want to take a bit more control of their lives. Who can blame them? It's the way nature intended it to be.

But for the parents who for so many years invested so much in dance lessons: money, time, energy, emotion, etc., it can be very difficult.

I know I mentioned this before, in another thread probably, but a number of years ago I was watching a very interesting documentary on the ice skaters Tai Babilonia and Randy Garnder (Silver medalists at the Olympics). Shortly after Randy got injured (pulled a groin muscle because he didn't warm up enough) just before the Olympics for which they were Gold Medal contenders, Tai decided not to continue with her career on ice.

Apparently she had actually fallen out of love with skating several years before but because she felt so beholden to all the people around her who had sacrificed so much for so long, she soldiered on. In the documentary she made this comment (paraphrase) "I felt forced to stick with a decision to skate I made at 7 years old - but now I'm not going to do it any longer."

You can feel the pain in that comment. A small child, and then a growing child's, sense of guilt and compulsion. No one should be forced to live with a decision made at such a young age.

So, at puberty we shouldn't be surprised that one of the changes might be a decision to say "no." It's not failure, it's just life moving on.

I know I harp on this, but I have seen this happen so many times, the despair of the parents, the pain of the child.

The investment we make in our children - lessons, time, energy, emotional commitment - is never lost. All those years of dance lessons will always be there and will manifest themselves in other ways. Knowledge is never lost - just sometimes packed away for a bit to emerge later in a different way.

Good Fuel In - Good Energy Out

I wish I could be slender like a ballet dancer, maybe I should stop eating.

If you stop eating, you will stop doing everything else too - so that's not a good idea. Ballet dancers don't look the way they do because they don't eat. Smart dancers eat very well.

They do? Big meals?

I said, they eat "very well." I didn't say they stuff down all sorts of junk food or huge meals. Think of yourself as an engine. If you don't feed the engine with good fuel, then the engine clanks to a halt. You wouldn't do that to a train, why do it to yourself?

So, if ballet dancers eat well, how come they are all so slender?

The smart dancers put lots of good energy (food) in and then they expend that energy in dancing. If the intake and the outgo are roughly equal the body is in balance and can do what you are asking of it.

Actually, eating less makes losing weight more difficult.

Really? How can that be?

Human beings throughout biologic history have been subjected to periodic famine. As a defense mechanism when the body perceives a lessening in intake (famine), it tries to compensate by feeling tired (using less energy) and storing what food it can. It stores those calories as fat just in case the famine gets worse. So, the body will actually turn the food into fat faster and this is helped because it is tired and as a consequence is moving around less.

Eating less is counterproductive. You need to eat the good food in the right amounts - neither too much nor too little.

So what should I do?

First you should get a qualified medical/nutritionist opinion if you think you are not getting enough nutrition or you think that your weight is inappropriate to your height and bone structure/muscle mass. Don't try to come to this conclusion yourself. Our own self-image of these things is almost always warped - skewed by a self imposed and therefore all too often irrational concept.

Also remember that exercise can add weight while subtracting fat.

How is that possible?

As the body adds muscle it adds weight. Muscle weighs more than fat. It's not how much you weigh, but what that weight consists of. And it is most important to remember that the body certainly needs to have some fat reserves. Among other things, it stores estrogen in fat. For women this is essential knowledge. Low levels of estrogen affect hormone cycling and balance as well as bone density. Puberty can be delayed, or menopause precipitated prematurely by hormonal imbalance.

Now think of yourself as an engine or maybe a fireplace.

I'm a fire place - nice and warm.

How did you get warm? What kind of fuel did you use? What kind of warmth and how long the fire burns depends upon the fuel - wood, coal, paper - that you used.

Wood will give you a medium fire, but has to be replenished quite often. Coal will give you a more uniform fire and lasts longer. Paper gives a hot fire but very quickly burns out. Your choice of fuel - food - for your body reflects those same properties.

How do I choose good fuel?

Think of it like a budget - how you spend your money. You have a certain amount of fat grams and calories you need per day. Now how are you going to spend those allowances? Out of an allowance of approximately 50 grams of fat per day, you can "buy" 12 grams of fat in one tablespoon of mayonnaise, or you can eat your sandwich without mayo or use catsup or salsa, or non-fat/low-fat mayo instead. There are lots of substitutions you can make. Maybe a sherbet rather than ice cream. Since you do need fat, however, chose it wisely. Nuts have fat, but they also offer lots of good nutrition - so that's an example of choosing a "smart" fat source.

You can spend your calories on a sweet treat like candy or you can have a sweet juicy piece of fruit which will not only satisfy your sweet tooth, but also give you other good stuff like vitamins and roughage. This doesn't mean never having a piece of chocolate or a slice of pizza - it just means that most of the time chose the more nutritious of the choices.

Timing is also important.

What do you mean "timing?"

When you eat. Just like knowing when to stoke the fire in the fire place. If you put too much fuel in oxygen can't circulate or if you don't put enough in the fire burns too low. So, try to time your meals so you'll have fuel when you need it. Eat your largest meal as early as possible rather than late in the evening when your activities are decreasing.

So, I need to think about when I eat. But I don't need to totally give up anything?

Definitely not! Treats are a good thing - when they are treats. They are no longer treats when we eat them often.

Remember that human beings are omnivores (we eat and need just about everything). It's very tricky - and dangerous - to eliminate any particular food group from our diets - and this should only be done under the careful supervision of a professional in the field of nutrition and only for very specific medical conditions.

We need protein, minerals, salts, sugars, carbohydrates, fats, etc. Fad diets are just that - fads - it make lots of money for writers of books and publishing houses.

If you eat a balanced diet, moderation being your guidepost, and you expend your energy in the same (approximate) quantities in which you acquired the energy, you will safely burn excess fat and acquire lean muscle. Diet is not one of those areas in which less is better. And, remember it all takes time, time, and patience, patience.

It's really hard to beat those Ancient Greeks in general and perhaps Aristotle in particular when he said:

"ALL THINGS IN MODERATION'

In other words - one can take a vitamin pill will all the necessary nutriments - but we know you can't live on vitamin pills. The body was designed to eat real food and a vitamin pill is only a supplement to good eating habits.

Humans were also meant to eat from many food groups - unlike horses or wolves. We need a large variety. If one is going to cut down on that variety - limit the food groups - then you had better be very careful and do this with the help of a qualified professional nutritionist. There are serious consequences to insufficiencies of any particular vitimin or mineral. Some of these consequences only show up after time and sometimes the consequences are not easily rectified. You really can do yourself harm. So always get qualified professional help before making any changes to your diet.

Diet and Dance

The dancers I've seen have such gorgeous bodies, so slender, I wished I looked like that!

Well, I’m not sure that several famous old painters would agree! They seemed to like bodies which were a good deal heftier! So, maybe it depends upon when you are living as to what is considered “gorgeous.” There are some societies that consider a slender body as a “deprived” person and think that if one is heavier (even fat) one is therefore happier – well fed at least. But, seriously, we each have our own individual “look” and we really shouldn't model ourselves on others. A great part of it depends upon our genetics.

Maybe if I just ate less.

As I mentioned to you earlier it's not about eating less, but eating wisely. If you eat good nourishing food you won't feel hungry for other less nourishing things. Your tastes and desires in food will actually change if you do this consistently. You will lose your taste for empty calories. It's like spending your money wisely or foolishly.

Money?

Each day you have a certain amount of money to spend and you need to buy certain things. So think of that in terms of food. You need to purchase good food rather than un-good food. Food that will nourish and fulfill the daily requirements of health and activity rather than food that simply fills the belly or fulfills a mental craving.

Well, I'm not a nutritionist and I don't know how I can tell what's best!

The nutrition labels on food packages are a good place to begin. The labels are based, for the most part, on the daily optimal diet for men. Women need approximately 15% less. So if, as a woman, you need 45-50 grams of fat per day you then decide how to spend that allowance.

Sounds like a complicated decision.

Not really! For instance if you have a hamburger sandwich with lean meat but you smear on a big dollop of creamy dressing, you've just added a bunch on basically non-nutritious fat. The fat content is not so much in the bread or the lean meat, but in the creamy dressing. It's much better to forgo that and spend those fat grams on almonds or other nutritious nuts or even olive oil. If you really need something on your hamburger you can use ketchup, mustard, relish, salsa, a tomato or pickle. Size makes a difference too.

My size or the food size?

The size – portion of the food. You don't need to deny yourself a piece of chocolate cake - just have a smaller slice. Diet shouldn't be about denial, it should be about healthy choices, making good decisions how to spend fat and calories. Think of food as fuel. You need good fuel for optimum operation, just like your car needs gasoline/petrol of a certain grade and quality.

And, of course, if you are dancing or engaged in any other physical activity you need to be especially aware of supplying your body with good fuel and enough fuel - not less fuel.

I also think it's a good idea to listen to your body.

What do you mean?

A study was done with very young children. Platters were placed in front of them with a variety of food including sweets (candy), veggies of all different kinds, meats, dairy, etc. One would expect that once the child had discovered the food that was sweet the child would only eat the sweets. But that isn't what happened. Over a period of several meals the children ended up selecting a variety of food and in the end balancing out between the various choices.

So, when my body seems to be craving meat or eggs - I eat meat or eggs. If I feel like having fresh spinach - that's what I eat. Yes, sometimes it is a sweet I crave, so I do have that - just as a taste rather than in quantities.

It also makes a difference in how the food is prepared such as whether the grounds meat is lean or not and whether it is cooked in a pan of grease or on a grill. Same for eggs and most other things.

There's lots of different diets out there that I've heard about....

I feel one should be careful about any diet that eliminates any particular food group. Humans are omnivores (we eat just about anything) and we need to have food from every group. Herbivores have long guts - it takes a long time for them to obtain nourishment from the grasses they eat. Carnivores have relatively short guts because they eat food (meat) which is high in protein energy. Humans are in between with medium size guts. So we are set up to eat from all categories. Generally speaking, those people who chose to eliminate a particular food group, such as vegetarians, really need to know what they are doing in order to get enough protein and vitamins generally found in meat and dairy products.

If one chooses one of these paths, one really needs to get professional information from a nutritionist. The problems brought on from a lack of particular vitamins, minerals and proteins can have long term and insidious effects that might not show up for years and lead to all sorts of problems.

Does being careful mean avoiding eating at fast food restaurants?

Not necessarily. Just don't make a habit of it. You can also go to the websites of the various fast food restaurant chains and click into the nutrition information for their menus. It's quite enlightening. They give information not only on the total item (hamburger/bun/mayo, etc.), but they break it down telling you the fat grams and calories for each part of the item as well as the portion size: small/medium/large. This gives you an opportunity to make a good choice even when ordering from a fast good chain. Many of these places also keep nutritional information cards available – just ask to see it.

So if I eat carefully I will look like all those beautiful dancers?

No, you'll look like yourself! Remember professional dancers literally dance all day. They take class in the morning, rehearse in the afternoon and perform at night. They are also young and have been doing this all their lives. And they don't all look the same, that's an illusion.

An illusion?

Yes! That's what the dance company wants you to think, especially for the corps de ballet. The lighting, makeup, costuming and choreography are all geared to make you see them as all alike, but they really aren't. In many companies they've come from the same schools, so this adds to the effect that they all look alike.

Why would you want to look like everyone else anyway? Then you'd have to wear a name tag so we could tell who you are!

Adult in a Child’s World

Well, I’ve been taking ballet class for a while now, no longer a beginner and I’m having trouble finding an adult class for my level. Seems there are only classes for teens and I am definitely not a teen!

This is a constant problem for the adult student. Finding a beginning class is difficult, but finding an adult intermediate class or beyond), in my experience, is even harder. You might have to round up other adults in similar circumstances and then all of you present yourselves to a teacher who may be willing to open a class.

That’s a possibility – but not probable. Do you think a teacher will let me join a teen class?

This depends very much on the teacher and her experience. I can, however, tell you that my experience as a teacher with this has been very positive. I found that any adults in the teen class calmed it down, rather than disrupted it

They would be laughing at me. I would feel very strange….like a cow among calves.

Or a doe among fawns! A better way to think about it! At that age children are mostly intent upon themselves and their peers. I don’t think they even really “see” the adults in their midst. They are a tribe unto themselves – busy bonding and competing within their own age group. They won’t see you as either someone with whom to bond or compete. Their energy will be directed amongst themselves.

Well, maybe it would be the other way around…..I might feel overwhelmed by their ability – their flexibility – their ……okay….youth!

So, is the answer then to never be in class with anyone younger or more flexible? In that case one might never even bother taking any class ever! On the contrary I think you will find that though the teens might bend a bit more, they also have their problems. Adults bring many assets to class and I found that adults more often had a salutary effect on the youngsters.

Like what?

Your adult work ethic. Your attention to details. Your desire to learn and analyze. Your willingness to try and perhaps not quite succeed, and try again. Your dedication despite the problems we each bring to class. Teens have a lot to learn from adult students. Though the teens won’t overtly learn (they will seem much too busy amongst themselves) the intelligent ones will in fact be learning from you. The atmosphere in the class will change and they will profit from it.

Another problem.....maybe I would be holding the class back.

If that were a problem, the teacher would not be allowing you in the class in the first place. Each new student who comes into the class – regardless of age – has the potential of holding the class back. However, a teacher with good skills can overcome that by not only the work she presents, but also how she shapes it for each student.

This is beginning to sound a bit more hopeful. I usually get along well with kids so maybe it would work.

Most of us get along well with kids, because most of us have an affinity for them – we were kids ourselves! However, don’t confuse “getting along well” with “being a pal.” An adult student in the ballet class really shouldn’t try to be “one of the gang.” Be who you are: an adult – kind – polite – considerate – friendly – helpful (if asked) – but keep it appropriate. Don’t expect to share their lives, or activities or gossip. They are inveterate gossips and this is one thing from which the adult student must absolutely remain apart.

Be a kind, polite and considerate classmate and they will learn those qualities from you, but don’t try to go beyond that. They live in a separate world. Don’t try to enter it.

And remember…..always keep your sense of humor. You’ll need it both in watching them and for yourself.

Uh oh….

Can I tell you a story?

Sure….(why not? I’m stuck here in WORD anyway!)

I was taking an excellent professional level class at a well known school. The class met every morning (including Sundays) at 9 a.m. We were all adults at a proficient technical level. The teenagers had their classes in the afternoon after school. However, during the summer for two months the teen class joined ours as their teachers went on vacation. The teens were quite advanced and so technically it should all have worked out smoothly. But it didn’t.

The teacher who ran this entire school enjoyed setting up a competitive atmosphere that could get quite nasty and the teens were used to this and responded amongst themselves with debilitating and emotionally draining pranks, gossip and other nastiness. When they joined the adult class they brought those negative attributes with them.

So, while we enjoyed seeing their physical progress and their youthful beauty – they were otherwise very unbeautiful. They were disruptive, discourteous to the point of physical confrontation: playing pranks on the adults, shoving them, and literally taking over what had been a wonderful class of adult dancers.

The teacher noticing this did reprimand the kids, but only once, and within 30 minutes they were back to pushing, sneering and painful pranks. I was really upset. Some of the shyer adult dancers left, electing to sit out the summer rather than putting up with those very unpleasant kids. It made me sad to see these dedicated adults leave, but also made me very angry. How to deal with this? I surely didn’t want to stop taking the class for the summer – in fact couldn’t afford to and still maintain my dance performance schedule. Finding another class at this level was not an option.

So, I decided that only humor would work. I found a t-shirt that said:

“Age and Treachery Will Always Overcome Youth and Beauty”

I wore it over my leotard every day in class. Some of the kids laughed, some sneered but they never bothered me again.

Epilogue: This group of nasty teens eventually caused the demise of the entire school.

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