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.