Pirouette Perfection with 24 Tips & a Vertiginous Video!

Pirouette help just in time for audition season! You might have noticed that I added a blogroll a few weeks back so you could have access to even more dance articles and resources. (It’s on the side of every page.) I add good new blogs as I find them, but my latest fave is Dance Advantage, which you will recognize from my below post on their Top Dance Blogs competition.

Dance Advantage takes a fun approach to dance student topics like technique, dance programs, performance/competition preparation, dance history, and even professional companies. You’ll love their technique section, which has neat, bullet-pointed summaries of basic and classic technical tips. Their 9 perfect pirouette improvement tips and 15 fantastic turn corrections are sure to help you to understand and stay focused on proper movement quality in a basic pirouette. You have probably heard these tips often from your dance teacher, but it’s great to have a quick reference in print!

Need pirouette inspiration and some more help? I found an excellent video for you from Anaheim Ballet which highlights my absolute favorite theories for achieving your balance point and, thereby, accomplish gorgeous turns:

2011 Summer Intensive Updates!

If you haven’t been regularly checking my recent post on the best SIs, click back over to look for newly added quality regional programs (at the bottom of the post) and additional updated info on individual programs.

Also, Pointe Magazine has posted online two good articles on preparing for this audition season. “Rejected” is one dancer’s story of turning a potentially crushing letter into a motivational tool, and “The August Advantage” is a look into summer intensive extension and add-on programs for advanced, vocational students.

Dancewear en l’air: The Long-Sleeve Turtleneck Leo

A long-sleeved turtleneck leotard can be a lifesaver on wintery days, especially if you have a dress code that does not allow warm-ups. These styles can look a bit plain, however, which is why I love this mesh-inset version, Melinda (L4504C), from Sansha.

With a stylish keyhole cutout in the back and mesh fabric for the sleeves and across the collarbone, this leo evokes that dramatic evening-dress look. It’s only available in black, which works well since other colors in mesh can look a bit garish instead of elegant. I think this leo would look adorable in a winter class with a short black wrap skirt and bunched ankle warmers.

Dancewear en l’air: Ballerina Mukluks

There was frost on my windshield this morning down here in the deep South – which means mukluk season is officially upon us! For those of you that aren’t familiar with the comfy, knit foot and calf warmers called mukluks (pronounced muck-lucks or mook-looks, depending on who you ask), these little guys are totally perfect for keeping your feet warm between classes. (But please, please, please do not dance or go on pointe in them!) They a perennial fashion favorite at many SIs, too.

Mukluks are similar to a thickly knit sock, but they have a sewn-on indoor-use leather sole. They aren’t always easy to find, but Turtle ImportsEmpire Dance, Merde Dancewear, Barbaraz through Ebay and Bohemian Groove through Ebay are carrying them now. Then can also sometimes be found around holiday time at American Eagle, Old Navy, Wal-Mart, Target, Victoria’s Secret, AC Moore and local dance boutiques. Check out Alaskan Mukluks for more sources. Grishko and Gaynor Minden currently make synthetic, more modern versions.

Do you know where to score some sweet mukluks or have a review of some that you own? Leave a comment below to let your fellow dancers know!

Update: Mukluks by Himalayan Craft are available on the Russian Pointe website here.

DVD Auditions for the Distance Dancer – Part 2

Now that you know what you will perform for your video audition, it’s time to think logistics. When will you record you DVD? How? Who can help you? What if you don’t have a video recorder? What should you wear? What do you do once you have the footage? What should you include in the package with your disk? What else should you know about DVD auditions?

Ok, let’s start at the top…

All schools want to see recent footage taken at or perhaps soon after the time of their audition tour. Check their sites for deadlines. Make sure to record your footage no more than two months prior to the date that you mail your DVDs. Do not splice taping sessions from different days onto one audition DVD, and never try to make edits within a single exercise or splice two versions of an exercise together! I have seen some very embarrassing videos from young dancers who try to fool adjudicators into thinking that they finished an exercise as strongly as they finished it by editing two different tapings of a single exercise together.  It is always completely obvious.

A lot of families own a DVD recorder. If your family has one that you are allowed to use, you are a lucky duck. If not, you still have a few options. Check with classmates to see if you can borrow one, or look online for local videographers to see what they charge to make a professional DVD. Even if you do own a DVD recorder, a professional DVD can be easier (since you don’t have to deal with editing) and cleaner looking (since they have excellent editing software and high-resolution recorders) than a do-it-yourself DVD, if you can afford it. Alternatively, and perhaps best, ask your teacher if she has a recorder. Whether she does or doesn’t, ask if she would consider recording you and, as I mentioned in my last post, helping you choreograph and rehearse your audition exercises.

Often, the format of the DVD files are not important, so that an mpeg file from your iPod Nano, for example, might be perfectly sufficient. Resolution is important though – the footage needs to be clear and good quality. If you can play the files on a DVD player or on a computer with basic software, so can they. Just let them know what program or device to use if they will not be able to play it on a DVD player. You can always call ahead to work this out with the school.

You will be expected to dress properly for your video audition. That means you should follow the regular audition dress code guidelines for each school. They will tell you in their video requirements if there are any further attire rules specific to DVD auditions. You can’t really go wrong by wearing your best outfit of black leo, pink tights and pink shoes. Some schools will require you to pin an audition number card to your leotard, and they will tell you how to acquire or print it. [If a printed card is required, print it on the thickest paper you have, cut it down to a proper size (about 6”x7”) and pin it to the front of your leo below your bust with a safety pin at the top and at the bottom.] Wear your hair in a bun or French twist and apply full makeup – just make it a little less dramatic than stage makeup. Do not wear a costume, even if you are performing a variation. Do not include any performance footage for your audition video unless specifically and unmistakably requested by the school.

Most schools receive many DVD auditions, plus they have to review all the live auditionees. Respect your auditioners time by staying safely within the time limit for your DVD audition. If the specs say no more than 10 minutes, don’t decide that your introduction shouldn’t count just so you can fit in an extra 15 seconds of piqué turns. Ten minutes maximum is the most common request by the way, though Ballet Austin Academy, for example, asks for about 15 minutes of material.

Speaking of the introduction, you should either use a short portion of the DVD for a recording zoomed to your face where you state your name, age and city/state, or you should have a text page of this info inserted on a plain background to have up on the screen for a few seconds before your exercises begin. Either way, deduct the time that these items play on the screen from the total time allotted for your DVD so that you won’t go over the time limit.

Also on the subject of taping technique, make sure that a) your full body is visible at all times, b) each individual exercise is recorded in one “take” with no cuts or splices and c) the camera is held very steady so the footage is not shaky. For barre, stay with one perspective (record from directly side or straight on from the front) for each exercise. For center, it’s ok to pan and take a diagonal perspective if necessary as long as your whole body is in the frame at all times. For jumps, be sure that you are zoomed out enough that they can easily see your jump height in relation to the floor. Use a similar zoom setting for exercises that travel across the studio and variations, perhaps starting with a tight full-body zoom and zooming out gradually as you travel across the floor. A good videographer or teacher can help with these decisions. Record a performance of each exercise at least twice to the left and right.

Let me reiterate from Part 1: make sure you read the requirements of each school. Most of them just want a short barre and center and will give you a lot of leeway on the exercises, but there are some outliers. For example, the American Academy of Ballet does not want any barrework on video auditions. Also make sure you look for caveats to video audition acceptance. You don’t want to send in a video to San Francisco Ballet School only to have it rejected because you actually live within a 200 mile radius of one of their audition tour locations, their minimum distance for video audition eligibility.

Once you have your footage all done – including a spoken introduction if you want that instead of text – you’ll need to decide which side (left or right) to show for each of the barre exercises. You want to show your best execution of each one, but you also want some consistency with the format of your video, so you’ll have to decide which grouping of exercises looks best: all to the right, all to the left or alternating right and left evenly. Depending on the requirements of each school, you may have to do the same for the center exercises. Your videographer or teacher can help you select which exercises to include and splice them together in the right order using editing software. If you are sending videos to multiple schools, you might need to make different versions of the video for each one.

Once you DVD is finalized, burn a copy for yourself, a copy for whomever helped you and a copy for the school. Label each disk with your name, the date, your age, you city/state and your phone number. Some schools have a video audition card that you need to print out, complete and attach to the DVD or slip into the disk case. The properly labeled and encased DVD is the first item for your audition package.

The second item for your audition package is your audition fee. Video auditions are often $50 payable by check or money order, considerably more than live auditions.

Third is your paperwork. A video application form needs to be printed and completed for most schools. A few schools require a dance résumé instead of a form. Atlanta Ballet Centre for Dance Education has what they call an Absentee Audition Form – but they ask for a résumé also. I would also recommend a brief cover letter (on a business letter format) introducing yourself, explaining your interest in the school and thanking the adjudicators for reviewing your video audition application package. Once you have your paperwork together, make a complete copy to keep for your own record.

Fourth, you will need to include a few photos. Unfortunately, the schools can vary widely on what they need, more so than when it comes to live auditions. You may have to have quite a few poses photographed. You’ll just have to – you guessed it – refer to each school’s guidelines.

Finally, include an SASE (that’s a self-addressed and stamped envelope, kiddos!) that has enough postage for the weight of your video, unless the school does not wish to return videos.

You are now ready to mail your audition package! Check and double check that you have the proper mailing address for video audition packages, the properly labeled and correctly compiled DVD, the appropriate enclosures. Then, take your package to the local USPS, UPS or FedEx/Kinko’s to have it weighed, stamped, and sent on to its destination by trackable service. Now breathe a sigh of relief and begin your patient wait… Before you know it, you’ll be holding a response envelope in your hands!

Dancewear en l’air: The Sunray Pleat Leotard

Mirella’s artists are at it again with super pretty options in their Holiday Fashion 2010 and Fall Fashion 2010 collections, which feature fabric knots, belts, corset lacing and pleating. While all the styles are very creative, their are a few definite standouts, including M2013L.

The signature of this leo is diagonal pleating which forms beautiful arrays across the bust. (If you can’t see it on the pic at left, click it once to see a large view.) The blackberry shade shown looks simply lush and accentuates the dimension of the pleating perfectly. This leo is also available in a dynamic garnet red which is bright but at the same time deep.

Two modern fabric options are available: a Diablo/Nylon/Lycra and a Meryl/Spandex combo. So lux, I would pair the blackberry leo with cashmere-feel thigh-high black legwarmers over theatrical pink tights.

Preparing Your SI Audition Season

You have reviewed the summer intensive audition tours for this season and know what schools are visiting your area… You have been taking classes for a few years at least and are excited to see what the student audition circuit will be like… Visions of acceptance letters are dancing in your head! But wait – how do you get from sitting in front of your computer to opening one of those promising envelopes?

Preparing an optimal audition season for yourself takes thoughtfulness and preparation. You are going to have to be very proactive and responsible. There are a lot of to-dos, but it’s all very straightforward. And wouldn’t you know, I’ve got it all laid out for you in a nice checklist!

_____ 1. Get organized! Open a Word document and start a numbered list of the auditions you want to attend. Include all of the auditions that you are interested in, even if you’re not sure you can make it. Note the date, time and location (studio and city) for each one.

_____ 2. Rearrange your list by date, placing the earliest audition at the top. Look for conflicts. Inevitably, two good schools will overlap on one date, and you will have to choose between the two. If this happens, take a good look at the schools and talk to your teachers to decide which one you prefer.

_____ 3. Go down your list and ask yourself – What auditions are coming within easy traveling distance of your hometown? Which ones would require significant travel? Are those auditions worth a road trip? Can you get together a group of other dancers for a carpool to some of the auditions that are farther away? Make notes about this for each audition.

_____ 4. Share the list with your parents. Talk to them about your desired audition schedule and which auditions they will drive you to or that you will be allowed to drive to. Mark all of those auditions on your calendar and on your family calendar.

_____ 5. For those auditions that your parents either cannot drive you to (or that you are not allowed to drive to), ask if you would be permitted to go with a friend or with another dance parent. Contact dance friends that might be interested in carpooling and see if they (or their parents) can take you together or with a group, and then put these auditions on your calendar and your family calendar. (If you are unable to get to an audition that you really wanted to attend, don’t worry – a DVD audition is a good alternative. I’ll talk about those in a later post.)

_____ 6. You should now have your final schedule! It’s time to preregister. Quite a few schools have made preregistration available on their websites. Carefully check each school’s site to see if this option is available. Some schools have made online preregistration mandatory! It would be very embarrassing to get turned away for overlooking this step.

_____ 7. It’s time to get prepare your audition materials. Most schools have a page on their website describing the audition requirements in detail. Print out this out for each of your auditions.

_____ 8. Let’s talk about photos first. Each school has unique photo requests that are usually listed on their website, but you will be pretty much set for anything if you take the following shots in pink tights and a black leo (no skirt) with full stage hair and makeup and in pointe shoes (if you are that advanced): 1) a close-up headshot from the collarbone up, 2) full body first arabesque, 3) full body tendu a lá seconde with arms in second, 4) full body favorite pose. Professional photos are not necessary and are not the norm for students, but a teacher may be able to better than a parent for taking photos that show you to your best advantage. A size of 5×7″ is usually preferred. Write your full name and age on the back of each print.

_____ 9. Next is money, honey. SI auditions usually cost between $30 and $35 payable in cash, check or money order. You will have to check the audition information for each SI to find out which payment methods are preferred for each. Be up front with your parents from the get-go about this if you are relying on them to cough up these fees. If they cannot or will not subsidize your auditions (or any other aspect of your training for that matter), you are going to have to decide how important this is to you and, if it is truly important, how you can earn the money you need perhaps by becoming an assistant teacher or offering to clean the studio for your directors.

____ 10. Finally, there’s always random stuff that schools will want. (For example, SAB requires proof of birth at the audition.) You need to carefully read the websites and maybe even make a few phone calls to make sure you collect what you need to have.

You’ll notice that as a student, résumés, professional photos and recommendation letters are not a part of most auditions. Not only that, such materials will often be turned away by schools that do not specifically ask for them.

Now that you have your materials, go back to your list and create an audition packet for each school. Pay special attention to photo size and type specifications, payment preferences and preregistration. If you have read each school’s website carefully, you will be a-okay.

You have now prepared an excellent SI audition season for yourself – Well done! In my next post, I’ll let you know what to do on the day of an audition – and what to expect.

Dancewear en l’air: The Diamond Leotard

This thoughtfully cut leo features criss-crossing panels of fabric that narrow towards the hips making a flattering hourglass effect and creating a small diamond in the center bust. The criss-cross pieces wrap low around the back of the leotard creating a cute hip-skimming accent.

I hesitated to feature this interestingly cut leotard because, since Bloch’s recent purchase of Mirella, not all of their leotards are featured on either site. This particular leo is tough to find anywhere, but if you know the model number (MJ7115) you can find it in online discount stores, particularly if you’re willing to order from the UK. It’s available in a slate-like indigo, true red and classic black.

The 360 design of this leotard is what makes it so gorgeous. I’d pair it legwarmers or just pink tights so as not to obsure its pretty and flattering shape.

Supercharge Your Pointework!

The American Orthopaedic Foot & Ankle Society agrees: pointework is a serious undertaking. They endorse several tried-and-true dancer exercises that you will find enormously impactful for your oh-so-important foot and ankle training to enhance stabilization, strength and articulation. Add these simple, technique-cleansing routines to your regimen today (You’ll thank me later!):

Doming Exercise

The dancer sits on a chair with knees bent to 90 degrees and feet flat on floor. The dancer then tries to make an arch under the metatarsal heads while keeping the toes flat and long, not allowing any curling of toes. Hold for count of ten, repeat 5 times with each foot. This helps strengthen the intrinsic muscles (the small muscles between the metatarsal bones.

Marble Exercise

Place 20 marbles on the floor. Pick them up one at a time by curling the toes around them. Move each marble to a jar and when dropping in the jar, spread the toes apart as widely as possible. Repeat with other foot.

Alphabet Exercise

Write A to Z with each foot, using the foot and ankle and not the leg to draw the letters. This is a good overall ankle strengthening exercise.

Theraband (Sport Cord) Exercise

Dancers should move their ankle in 4 directions against the theraband. Flex (dorsiflexion), pointe (plantarflexion), sickle (inversion) and wing (eversion). Dancers should first point their foot followed by trying to turn the foot in (“sickle”) against the resistance of the theraband. A dancer should be able to see the tendon just behind the inside of their ankle working. This tendon is the tibialis posterior which is crucial for rising up on the toes.

Releves

The dancer should do calf raises with their feet in a parallel position, otherwise known as a releve. After barre work, it is good to do 24 single leg releves in parallel on each leg. This will help strengthen the Achilles tendon and calves.

Ballet in Film: Only When I Dance

Only When I Dance is an award-winning documentary presented this year that follows two desperately underprivileged dance students, a girl and boy, from one of the most violent and tragic favelas in Rio. The odds of these two young people succeeding are stacked strongly against them. Find out what happens when two children dare to dream of escaping to a better life through dance.

Click here to find out how you can help the Vida Ballet Fund. This organization provides grants to young people from disadvantaged backgrounds of Rio and the surrounding favelas who would not otherwise have access to dance school or an opportunity to pursue dance as a career.

Dancewear en l’air: The Flashdance Top

An 80’s retro top is perfect for dance inspiration, and K.D. Dance FAL1143034 captures the era perfectly with its drapey style. This Flashdance-inspired top is cut oversized (but is also available in a more close-cut fit) and comes complete with the original’s signature off-the-shoulder neckline that casually shows off your collarbone.

Created from K.D. Dance’s beautiful shadow stripe acrylic blend fabric, this sweater is available in some basic shades as well as an assortment of rich purples and wines. Lovely for a ballet warm-up or just to and from class, this is also a great piece for modern, contemporary and jazz classes. What a feeling!

We All Start Somewhere

Hello dancers! The Fall/Winter semester is already about half over. Now is a great time to check in on yourself and your training. What’s working for you? Are you making progress in the areas that you need to?

When this season started, I challenged you to be strategic about your new training year. That entailed setting specific goals and putting together a plan of attack for each. Mid-semester is the perfect time to review your progress and re-assess your plan.

What were your goals when the semester began? Have you been able to focus on them while you train, or did you forget about them and just “get through” your classes? Have you been consistent with any special exercises or stretches you needed to do outside of class? Be honest. And remember, New Year’s isn’t the only time to make resolutions! If you’ve been slackin’, resolve now to get refocus your efforts and rededicate yourself to your goals for this year.

Don’t forget that your teachers are there to help you, too. If you aren’t sure how you’re doing, talk to your teacher about your progress. Above all, stay focused and keep your eye on the ball. Watch dance movies that inspire or motivate you to enjoy your training. If you’re lucky enough to have good performances taking place in your city, try to make it to a live professional show. While you’re watching the pros, remember that they were once students too, trying to apply corrections and become the real artists that they now are. Just like you one day could be.

Dancewear en l’air: The Vibrant Wrap Skirt

Let’s beat those Monday blues with some fashion today. If you’re in the mood for a stylistic pick-me-up, Capezio’s 1290, a printed chiffon wrap skirt, is just the thing for your next class.

I really like the length of this skirt for pointe classes in particular – the gently tapered hem gives a nice length to the leg without looking – ahem – “hoochie” short.  And the floral pattern of teal, burgundy, pink and black will pair nicely with a basic black or with your bolder leos in similar hues.  I think it would look great over a unitard, too. All in all, an elegant but very fun pick.

I’m just a dancer, not a miracle worker!

First position, arm in second. Core engaged, neutral pelvis. Long neck, shoulders down. Elbow below shoulder, inside of elbow faces front. Wrist below elbow, inside of hand faces front. Fingers slightly curved, thumb tucked in. Chest open, rib cage closed. Rotate the legs from the hip socket. No rolling in. Energy through your limbs, but don’t grip. Now breathe, smile, look effortless and … grand plié!

Does it feel sometimes like there are too many things to think about in ballet at one time, even in the simplest of steps? That’s because there are! The corrections I just listed would be impossible for a beginner to keep in mind all at the same time. So how can you master a step when there are so many corrections to deal with?

The answer is: Don’t think about them! More specifically, your mission is to get corrections so ingrained in your muscle memory that you can “forget” about them and focus on other, new corrections. What’s the secret to that? Like the tortoise and the hare – slow and steady wins the race.

Your teacher is responsible for providing only as many corrections at a time as you can properly process and apply. Then, like a careful gardener, she must patiently remind you and even reteach the info in different ways. You must keep focused and stay dedicated. Finally, it “clicks” and muscle memory has made it a habit. Tada!

You are certainly capable of handling a multiple new corrections at one time, but there is also a limit. Your teacher might focus particularly on one part of the body for a few weeks or on a certain movement quality. As you become familiar with a correction, she may only need to say one or two words before you instantly know what adjustment to make. This means the brain is learning! She might then introduce you to a brand new correction or two, though it could take some months before the prior step or correction is really solidly learned. Even after a correction is solidly learned, occasional reminders may be necessary. Be patient with yourself if you notice this, particularly if you are having to “retrain” aspects of your technique.

Your teacher is responsible for providing you with corrections that are challenging but also achievable – A good teacher won’t ask you to do anything you are not capable of but won’t push you beyond your limit either. Keep focused, don’t be afraid of new information, and be patient if you are hearing the same corrections for a while.

You’ll be surprised what you can achieve with diligence and patience. Don’t forget that a dancer’s education is never truly complete – we are all always striving for improvement.