Tag: dance

Bun 101

Does your ballet class hairstyle stand up to the force of chaines and multiple pirouettes? Nothing screams “amateur” like hair and hairpins flying. Oh, the embarrassment of the undone bun! But with just a little effort, you can put those pedestrian days behind you.

I expect students to start doing their own hair for class by around age ten. It can take some time to learn how to master the technique on yourself, but not half as long as you might think – usually a few hours of practice is all it takes. Today, you’ll get the 411 from the CBT on how to master this essential skill for dancers.

The basic bun style begins with a ponytail at the crown of the head. This step has to be done correctly in order for the bun to take shape properly. Use a good brush to sweep the hair evenly and smoothly into the pony. Dampening the hair can make it more manageable. Secure it with an elastic that is not too bulky, which will get in the way of hairpins and cause bumps, nor too flimsy, in which case it will need too many wrap-arounds and may break easily. Try to find elastics that are close in color to your hair. Use a light spray of hairspray (Elnett is a favorite of celebrity stylists and is available in a travel size.) to sleeken your wispies, or wait until the bun is complete and use clips to take care of them. Once the pony is in place, brush the hair in the tail to re-smooth it. DO NOT to coil the hair into a bun and then try to wrap a scrunchie or elastic around the bun … Seriously, just don’t!

The next part is the where it all usually goes wrong – here’s where you twist the ponytail and start to coil it around its base. What makes or breaks this part is whether the bun is kept close to the head with one hand each time the tail is coiled. If you don’t use a hand to secure the bun against the head as its coiled, you’ll end up with a cone-shaped thing that sticks out and looks, well, absurd.

After one full coil is made around the ponytail base, start inserting hairpins horizontally from the outer edge of the coil into the base, every inch or so of the circumference. Make sure to grab a bit of bun hair with each pin and a bit of hair from the scalp beneath the bun. That’s what connects the bun to your head. If you don’t feel a bit of resistance, the hairpin is probably just sitting in the bun and is not connecting anything to anything. As with the elastics, try to find pins that are similar in color to your hair. I find that U-shaped pins work better than “bobby” pins.

When you reach end, tuck the tail in and secure with a hairpin. Remember to secure wispies with clips; clip your bangs too if your studio requires. Voilá, a respectable bun!

Many dancers opt to also wrap a super-fine hairnet, again matched to the hair, around the bun to lock in bun wispies. Hair spray may be all that is needed for some, though others find these steps to be overkill. Whether you choose to do these steps may depend on the culture of your studio and your personal preferences, but both are must-dos for performances and auditions.

The ballerina bun isn’t just one style, it has many variations depending on the height wear the bun is fixed and what is done with the surrounding hair. A bun that sits very high on the head is generally associated with Balanchine technique, and a bun that sits low is often associated with more old-school techniques and, if the surrounding hair covers the ears a bit, with romantic-era ballets.

Once you’ve mastered the basic technique, play around with different configurations to find the style that suits you best. It’s a commonly held belief that the high bun is preferred for auditions, but the truth is that what’s best for auditions is dependant on what style the company or school is and what you feel most comfortable in. For class, its fun to experiment by adding a braid to your hairline, inverting the pony, braiding the pony or accessorizing with ribbons or flowers. There are tons of options out there – go have fun with your bun!

Dancewear en l’air: The Cashmere-Feel Thigh-High Warmers

Legwarmers are an absolute staple for ballet dancers. You can throw them on with practically anything to keep your gams toasty and cozy in a chilly studio, and they come in a wide variety of lengths and fabrics. Perfect for barrework and stretching, the Bloch Francessca W0948 thigh-high style is an ideal option.

The CBT loves the stirrup-free long length of these warmers, which protects you from achilles to quad in a soft acrylic blend while allowing you to accessorize with a skirt or a pair of cute shorts. Or wear them alone for a clean, unencumbered look that your teacher will love.

Ballet in Print: A Young Dancer’s Apprenticeship

A Young Dancer’s Apprenticeship is the fascinating story of Olympia Dowd, a very young ballerina who was selected out of a small summer program to apprentice with the Moscow City Ballet. Ms. Dowd was a true prodigy, with technique and artistry far beyond her years. Her exceptional talent comes alive in beautiful color photographs throughout this book.

The life of a student is very different from life as a professional with a touring company. If you are interested in becoming a professional ballet dancer or just enjoy reading about what that world is like, this book is the perfect choice for you.

When Awkward Leos Attack!

I’ll never forget my first ballet class away from home, standing at a barre in the middle of a huge ballroom with strips of marley duct-taped over red and blue carpeting. I’ll also never forget the sheer relief of realizing that the master class teacher’s annoyed comments after the first exercise were not directed to me, but to the dancer next to me who had been yanking her leo up in the front and down in the back incessantly. “Tell your mother to buy you a leotard that fits before you come to another class,” he said with complete seriousness. “If you have to pull it up and pull it down all the time, it doesn’t fit you!”

It had never occurred to me that adjusting a leotard was noticeable, let alone that it could turn into enough of a distraction for a teacher to ban it! We’ve all had That Leotard though … The one that you know will look totally gorgeous, if you can just have another sec to situate it just right …

Just like in street clothes, different cuts are made for different shapes. If you have a leo in your closet that bugs you no end, ask yourself why you are bothering with it? Endless tugging and yanking and wedgie picking – that’s right, I said it! – isn’t only a distraction to your own concentration, it’s annoying to your teachers and can make you seem unprepared and unprofessional. Um, not worth it!

Rest assured, the issue has nothing to do with you or your body. It has everything to do with one simple fact. Are you ready for this revelation?

People come in different shapes!

Shocking, I know. My longer torso was the cause of all my leotard tugging. Certain brands and cuts will never sit right on me – but others look simply fabulous!

Teacher annoyance aside, if you aren’t comfortable in your dance gear, you can’t put your all into your training. Don’t waste your time fussing with an awkward leo. Next time you’re shopping for dance clothes, try on as many different cuts, brands and fabrics as possible until you find what combinations look and feel great – so you can stop thinking about your gear and just focus on your dancing.

Dancewear en l’air: The Tulle-Strap Dance Dress

Anyone who’s taken pas de deux class while wearing a wrap skirt knows what an annoyance those ties can be in the middle of supported pirouettes or allegro work. Skirts can be fun to wear and can accent your movement nicely, but in partnering class they can be a distraction or irritation to you and your partner. Time for a one-piece dance dress, like Degas’s delicately refined 2519.

The CBT loves how Degas accents some of its pieces with light touches of tulle on the straps and bodices of its leotards and dresses (or tunics as they refer to them), especially on 2519. This tone-on-tone dress features a classic pinch-front, square-neck cut. Tulle for the straps and the attached short – but not too short – skirt makes for a lovely balance of fabric weights while giving it a real “ballerina” look.

Etiquette Shmetiquette?

Does it really matter what your hair looks like in ballet class or if you forget your shoes every once in a while? It’s not like its an audition, right? Um … wrong! Every day you set foot in the studio, you are presenting yourself for potential casting decisions, promotions and recommendations by your teachers.

Most schools have an annual recital, but few hold auditions for stage placement and casting. How do you think those decisions are made? They are made based on the technique, work ethic, attitude and etiquette that you show in class every day to your teachers. Class is of course not the same as an audition – it should be seen as a safe place where you can explore and expand your dance vocabulary, take chances and feel comfortable asking questions. But it is important that in daily class you hold yourself to a high standard not only when it comes to your dedication and technical work, but also how you present yourself in general. So what does that mean exactly?

Simply put, you never want to detract from the 110% effort you put into your technique (which I assume you are putting in!) by coming across as lazy, rude or irresponsible. A teacher will have a hard time promoting or recommending any student if the student is technically proficient but simply not up to par when it comes to grooming, manners or dress code. Showing that you are on top of these things can help show that you are ready to take on more, which can solidify a level promotion or lead to an important new understudy role, an assistant teacher position or even a lead role – but I guarantee this works the opposite way as well. (If you read my recent post on promotion to pointe class, you know just how directly it can affect level promotion!)

Setting a personal standard for yourself for class time can be tough sometimes – Remember that you are in total control of it. Especially at an advanced level, it’s easy to get comfortable and start believing that you have earned the right to wear your PJs to class or throw your hair up haphazardly, but I promise this will always detract from your hard work.

In the future, I’ll post on specific things you can do to manage the impression you make and to present yourself in the best light possible. Stay tuned for the details on how to master the hairstyles, look your best in your leos and impress with your professionalism.

Dancewear en l’air: The Geometric Leo

If you are looking for a fun leo that will transition you from ballet classes to jazz classes in style, check out Yumiko Dancewear’s Alex cut. Yumiko’s sporty, sleek designs have become the favorite of many professional dancers and students in the past few years because each leotard is individually designed by the customer off of one of their unique base models which feature interesting, abstract cuts and binding.

Like many Yumiko models, Alex is a good choice for a day when your schedule is packed with not only ballet classes, but modern, jazz, conditioning and even hip-hop. Available in an endless combination of colors and fabrics, you’ll probably feel ready for just about anything in this leo.

Get The Goods

When I was a young dancer, Discount Dance Supply was best mail-order company for dancewear. (No internet back then, kiddos!) They would special order styles, colors or sizes that didn’t appear in their catalog. Though they are still pretty good, they no longer provide special order service – If you want a special size or item you’ll have to look elsewhere.

Many excellent dancewear retailers have a wider selection and better service than DDS. If you still can’t find what you want, quite of few of them will special order, cut-to-order or dye-to-order your item. Some do not show up easily in Google though, so you kinda have to know where to look. Lucky for you, the CBT is in the know! Here’s the 411 on the best places to get the goods:

ADA Discount Dancewear
http://www.adadance.com

All 4 Dance
http://www.all4dance.com/

Amazon.com (For real – Just search for what you want in sports apparel!)
http://www.amazon.com/

Back Bay Dancewear
http://www.backbaydancewear.com/

Capezio Dancewear Shop
http://www.pagelinx.com/cpzo/

Dance Distributors
http://www.dancedistributors.com/

Dance Express
http://www.dancex.com/

The Dancer’s Shop
http://www.thedancersshop.com/

Dancer’s Warehouse
http://www.dancerswarehouse.com/

DWC Dancewear Corner
http://www.dancewearcorner.com/

Just For Kix
http://www.justforkix.com/

New York Dancewear
http://www.nydancewear.com

River’s Edge Dancewear
http://www.riversedgedancewear.com/

Tutu.com
http://tutu.com/

I have not included here the it-sites for costumes or for designer dancewear manufacturers who direct-sell on their site, but I’ll make separate posts for that eventually. Send me a message on the Contact the CBT page if you want to see that info sooner rather than later. Happy Shopping!

Dancewear en l’air: The Lacey Leo

Looking for a ballet leotard that will make you stand out in an audition without looking too showy, sporty or – heaven forbid – neon? It can be tough to find elegant leos that aren’t simply more of the same classical cuts, but Ainsliewear has pulled it off rather nicely with 114la, a wine-hued capsleeve model from their 2010 collection.

This leo features a delicate lace detail at the neckline and a gorgeously low V-cut back to highlight your elegant épaulement. And they even make a lovely matching skirt for the perfect pairing. You won’t get lost in the crowd this audition season! Sugar Plum, anyone?

Back to Ballet Class

Fall is nearly here – Are you ready physically and mentally to get back to dance class? Here is some excellent advice by venerated classical ballet teacher Victoria Leigh on how to digest your summer training, set goals and prepare yourself to be at the top of your game this fall.

Ballet in Film: Ballerina

One my absolute favorite dance documentaries, Ballerina, is now available to watch instantly on Netflix. This exquisite portrait of five female ballet dancers from the legendary Kirov is a relatively recent film, which lends it a much more modern air than most dance documentaries available, particularly when it comes to the level of virtouosity of the dancing itself. If you are looking for true inspiration and to see just how elevated a level ballet can reach, I highly recommended you check it out.

Dancewear en l’air: The Stretch Knit Legging

The CBT is always on the lookout for warm-ups that keep your muscles protected with minimum bulk. K.D. Dance brings it to the table with their ultra chic stretch legging, style AL114161.

In typical K.D. Dance fashion, this cozy number is both stylish and functional. The acrylic/lycra blend provides softness with just the right amount of cling, and K.D. Dance offers an outrageous range of color choices for this item.

These tights are an excellent piece for wear between classes, to and from classes, or during rehearsals and classes. And if you have a teacher like me that only allows streamlined warm-ups that don’t obscure alignment, you’re definitely in luck here.

Batman Tandoo? You mean Battement Tendu!

Ever wanted to write, better pronounce, or better understand a term in ballet? Then you must grab yourself a copy of Gail Grant’s Technical Manual & Dictionary of Classical Ballet. This small book is an absolute must-have for anyone interested ballet professionally or for college.

Considered in the dance world to unquestionably be the best reference for ballet terms, this little tome is fairly inexpensive (just about $10 in the listing on Amazon) and is simply an A-Z reference for virtually every ballet term used or in use.

Part of what makes the Gail Grant Dictionary such a standby is its inclusion and cross-reference of terminology across ballet techniques. For instance, if you go to a summer intensive and hear the word raccourci, looking it up in Grant’s Dictionary would tell you that it is as a term of the French School. The definition then cross-references you to the Russian term retiré, so you will learn the interchangeability of the terms. (I’m sure you know that ballet originated in France and was exported to other countries where it further evolved. Thus the development of varying techniques from the Italians, the Danes, the Russians, the Americans and the Cubans. These have all made their way to the United States. With so many techniques here, it is common to hear different terms from different teachers, even within the same school.) You would also learn that it means shortened – referring to the bend at the knee which “shortens” the leg – because this position is actually a variation on a développé a lá seconde!

If you are looking for books to support your training and develop you into a knowledgeable dancer, Gail Grant’s Dictionary just can’t be beat. There are quite a few other books that are invaluable for dancers, but you’ll find that this one stands firm at the top of the list for professional dancers, serious students and seasoned teachers.

Dancewear en l’air: The Plush Tank Leo

For me, nothing ruins a good classical line like a busy leotard. With the rising popularity of the Natalie brand’s fussy, strappy confections, it seems like every time a student detournés, I am accosted by a web of criss-cross straps and camisole lines.

For my taste, nothing flatters a young dancer like the clean lines of a classic tank leo. Enter the Body Wrappers / Angelo Luzio P300 plush tank leotard. A modern take on the classic standby, its gorgeuos, soft fabric features an elegant bust detailing on an empire waist (and that’s “ahm-PEER”, btw, not “EHM-pyre”, kiddos.) The CBT loves that it looks lux while not looking overdone, and could easily pair with a matching skirt or with warm-ups for a more casual look.

When Can I Go on Pointe, CBT?

Every beginning female ballet dancer dreams of going on pointe, but that dreamy day can and will be ruined by pain and injury if you are not prepared. I don’t want to scare you but I have witnessed the pain and frustration of an ill-prepared beginner pointe student! It is far more difficult to overcome poor pointe technique resulting from ill-preparedness than to simply wait until the dancer’s strength and technique are ready.

It is your ballet teacher’s job to know from experience and education when his or her students are ready, but surprisingly few ballet teachers actually share that information with their students. There can be many reasons for this. Some teachers are concerned that if they explain the details of why, students and parents will be encouraged to argue about whether their daughter fits the parameters. Other teachers like to encourage a certain mystique about the whole affair (though they’d never admit this), thus generating further suspense and excitement for the students and parents and securing the teacher’s perceived status as a guru of super secret sacred ballet info.

I do not subscribe to either of these philosophies. In fact, I believe that transparency in these matters is vital for the dancer’s education! It is with that in mind that I share with you my guidelines for pointe preparedness. Mind you, these are not hard and fast rules, and it does take the teacher’s expertise to know if the dancer has actually met a given requirement. So without further ado:

  1. A student must be 11 years minimum to allow proper bone ossification. When children are young, the growth plates are soft, and repetition of improper technique in something as strenuous as pointe can deform the feet and body in short order. It is common for dancers to have to wait until they are 12 or older so their technique and bones can strengthen.
  2. A student must have at least 2 consecutive years of quality training immediately prior to promotion. Length of training is not an estimation of pointe readiness, however.
  3. A student must be in good health and able to take a whole class. This includes being of healthy weight. If the student frequently needs to rest because of illness or injury, she is not strong enough for the extra demands of pointe work.
  4. A student must consistently take a minimum of two classical ballet technique classes a week. Daily class is preferred and necessary for students training for ballet as a profession. Class frequency makes a significant difference in development.
  5. A student must pay attention in class and work well. Going on pointe is a big step and requires commitment on the part of the student.
  6. A student must be responsible enough to bring all the gear she will need to class. Pointe shoes require extra care and accessories.
  7. A student must habitually use her core muscles properly and have a strong, proper posture while dancing and standing. Pointe requires that the student use the muscles in her torso, legs and feet to stand en pointe and not use the shoes as a crutch. Core weakness will throw the student off balance and will make it difficult to dance.
  8. A student must use correct plié while dancing and exhibit supple calf and leg muscles.
  9. A student must hold turnout from the hip while dancing. Turnout makes it possible to do steps that could not otherwise be done. If the student does not maintain their turnout, they are not strong enough for pointe.
  10. A student must keep the heels forward. (No sickling, a sure sign of improper technique.) The most stable position for pointe work is to have the weight slightly forward between the big and second toes. Improper center will make it more difficult to stay en pointe, and will increase the chances of strain and injury.
  11. A student must point the whole foot from the ankle and instep with toes pointed but long while dancing. These muscles need to be strong enough to support the body weight. If the student is not in the habit of articulating the foot muscles properly, they will not be able to support themselves en pointe.
  12. A student must have enough of an arched instep to stand on pointe. Dancers with very high arches often have weak alignment or weak muscles that they must first master.
  13. A student must execute properly 16 relevés in the center without stopping and 8 at the barre on one leg without stopping, right and left. There should be no pumping action through the upper body during this execution. Strength for pointe work is achieved by repeating exercises. Relevés are excellent for building calf and leg strength, which is vital for pointe. If foot and leg strength is an issue, Theraband exercises can improve this deficiency.
  14. A student must pique passé/retiré with straight leg and proper alignment. Student should have enough strength to push themselves onto half-pointe. This step is harder to do en pointe and a bent leg is a sign of weakness or improper step preparation.
  15. A student must hold a retiré balance on half-pointe. The student should be well-placed (hips square, back straight, legs turned-out), and have the strength to balance on half-pointe. This pose is more difficult to correct en pointe, as the surface area for balancing is smaller and the turnout strength requirements are greater.

Most syllabi dictate that working properly in ballet class is sufficient preparation for pointework. As mentioned above, special exercises may be prescribed to help the dancer who is behind her classmates. Some schools devote whole classes to this preparation, called Pre-Pointe. There are varying philosophies on its appropriateness  – but that is a topic for another day!