Below the Shoulders and Down

Abdominal Muscles-
I mean, who doesn't want that toned six pack stomach?  Especially if you are wanting to be able to do multiple turns. But people tend to exercise the one region of your stomach, rather than all parts.  It is very important to also exercise your obliques, lower abs, and all the other muscles in between. One excercise that will get your lower abs, and the smaller muscles that are hard to get is to start by laying on your back, and rolling up. You want to do these for a bit, going slowly up and down, keeping your arms by your ears. Then after you've done about ten or so of those, you will stop part way when rolling up / down in your "hard" area. This is the area you often miss, and therefore is weak. Once you find this spot, you will do small pulses, then continue rolling. For your obliques, which are the muscles on the sides of your stomach / torso that help with control and placement, you can do either standing or sitting. You just lean to one side, then only use your sides to pull you back to neutral. It can be difficult to isolate those muscles, but they will help you maintain a position or contract and move it. After stomach exercises, you can stretch by going into cobra, a push-up position with your hips on the ground.

To stretch out. Credits to: 30dyc.com

Lower Back-
"Aim high, arabesque higher," as they say.  These are the muscles that will pull your leg up (as well as back and hip flexer flexibility), so it is important to strengthen them.  You can always just do back ups--laying on your stomach and lifting your back-- or you can do something more challenging. It's basically the same thing, but using an exercise ball. You lay on it, stomach down, with the ball at your hips, so you are in an upside down V, or downward dog position. You will need somewhere to tuck your toes so you don't move forward; I usually place mine under the couch. From this downward slope angle of your back, you will come up so that you are in a straight line from head toe. This way, you are keeping your abs engaged, and when you go past straight, you are releasing them. You'll get an extra workout in your stomach, as well as help to prevent injury. After you've come up, go back down all the way, and just continue to repeat. Do this at a medium pace.

Back-up exercise. Credits to: pinterest.com

A stretch you can do to counter this exercise is to sit on your knees, grab behind your knees, and pull away creating a curve in your spine. A stretch you can do to become more flexible is to grab your leg in attitude behind you and pull, making sure it is behind you and that your shoulders are close to square. Another one is leaning back in your splits. I like to do this underneath a barre, so that I can grab the barre and walk my hands backwards for a greater stretch. Always keep in mind your limit when stretching... injury is the last thing we dancers want.

Counter stretch... not listed, but works great. Credits to: workoutlabs.com

Back attitude stretch. Credits to: f.tqn.com

Head, Shoulders, Not Knees, or Toes

Now that we've reviewed our basic body parts through the song (title--kind of), let's continue on our body fitness.

Upper back-
This should be where all arm and upper body movement comes from. Let me just say, I struggle with this one like no other. It has taken a LOT of explanation from my teachers to understand the muscles to use... and I still can't do it. I find that you can be just a hair off from this position, but never actually be right on. And even though you are just barely away, it affects your movement and look. To me, this is what separates the principal dancers of a company... they have mastered how to move their upper body to match their legs, and it adds a whole other element to their dancing. It's up-lifting. First and foremost, the muscles used to hold up your arms aren't actually your biceps or triceps (although they help), it's your lats. These muscles are responsible for almost all movement of your shoulder joint, but are hard to find and strengthen (at least for me). You know when teachers tell you act like you are squeezing tennis balls in your armpit without actually moving your arm? They are trying to get you to engage your lats. Obviously if I have trouble doing it, I'm going to have trouble explaining, so I apologize. But, once you find how to use them, it will keep your shoulders form creeping up, as well as help with partnering. Check out this website to find strengthening exercises for your lats. Arm-wise, push ups, repeated arm pulses out to the side or any direction, resistance exercises with a Theraband, lifting, tricep dips, or whatever will help you with your upper body and control in movement. I would just suggest not to bulk up TOO much, especially if you are looking for long and lean muscles.

Lat muscle. Credits to: wikimedia.org

Neck-
Remember, any head movement shouldn't be too crazy, and should technically only be the result of your upper back moving. You also shouldn't be needing to strengthen your neck, but may need to stretch it every once in a while. Doing this helps to loosen the muscles connecting to you back, and keeps shoulders down (that also is an issue for me). All you do is gently pull on your head either directly down, to the diagonals, or the sides.

GENTLE. Credits to: mahealthcare.com

Ribs-
All I have to say about this is to keep them down. It probably means you are curving your upper back, or "lifting up" form the wrong area, or both! Thinking about engaging your abs and opening up your back and shoulders will prevent your ribs from jutting out.

Knees to Hips

Like I said earlier, SUMMER! Oh, and ballet.

Knees (again):

 A common way that you can hurt your knees is by forcing turnout from your knees and feet, causing strain to those joints. You can tell this is happening if someones knees jut out forward when they plié, as well as their feet may roll towards their arch. Instead, think of all rotation initiating from your hips, using your inner thighs, focus on your knees always being directly above your toes, and lifting your arches.

Hamstrings:

Lunges, leg lifts (in parallel too), and leg curls are all great strengthening exercises for this muscle. There is one that will really do the trick, and by really, I mean burning. You need an exercise ball, and simply on your back, with lower calves on the ball, and use your hands for stability at your side. Raise your butt about a half foot of the ground staying in parallel, bring your heels toward you, (the fun part) then push them out again. Do about two sets of twenty, or wherever you feel like you need to be. Enjoy.

Many people (including me) have tight hamstrings. The best way to stretch, and although painful, is putting your legs straight in front of you while seated with flexed feet, and lean forward. Arching your back in downward dog, sticking one leg out in front of you while on one knee, laying on your back and pulling one leg as close as you can to your face while slowly flexing and pointing, also all work.

credits to: www.flynntherapy.com

Credits to: www.perfectwifemag.com

Quadriceps:

Strengthening wise, if you are pulling up your knee caps, it probably means you are engaging them (which will make them stronger). You want to aim for long, lean quads, rather than more bulky ones. Look here for exercises if you need that extra strengthening, but I feel that you will work them the right amount in an ordinary classes. And for stretching, there are two that I prefer. The first one is sitting on your knees, and slowly walking your hands back, aiming to keeps your legs on the floor. The other one is putting one leg in a right angle lunge position, and the other bent against the floor, then pushing your hips down... it's a good one.

Both knees stretch and one knee stretch

Hips:

*the stretches under gluteus are good for loosing up your hip, as well.

I don't know of many people looking to strengthen their hips, considering it's mostly bone, so I'm going straight to stretches, which will give you much more range of motion. Going into a grande plié in second position, then pushing your knees outward with your hands is simple and one of favorites. The "frog" and "butterfly" are basically a position in between a plié and grande plié, either laying on your stomach (frog) or back (butterfly),also loosen this joint up.

Frog stretch. Credits to: f.tqn.com

Second position stretch

Gluteus (turnout muscles):

First and foremost, turnout. This is the muscle that should initiate it, with the help of your inner thigh, and will probably get extremely sore if you use it all the time. During class, just keep thinking about your heel going forward / up, and your knee to the side. An exercise that is good for this is laying on your side, with your hips stacked directly on top of each other, and lifting the top leg about two feet then back down. Then you can do knee drops, turning in then out back to retiré, and développés and envelopés.

Stretching this muscle is the kind of stretches that "hurt so good" because they get deep down. Doing a pigeon pose with your front foot in a right angle, pushing down your knees in butterfly and leaning forward, crossing one leg over the other bent one and twisting, placing one knee on top of the other with your feet going outwards (placing your knee on your other foot, and your foot on your other knee does the same trick as this one, but less intense) are all of my favorites. Refer to the pictures if my terrible explanation doesn't help!

Less intense stretch of one below (knee on knee)

One leg cross twist stretch

Pushing knees and leaning forward in butterfly

Pigeon stretch (ignore arrows). Credits to: massagetherapy-brighton.co.uk

Never give up! You can do it! Set goals! I know you want those lean, but strong muscles! Just thought I'd throw out some motivation... I know I need it.

From the Knees Down

In the following three posts, I will be talking about exercises and stretches for your body to help you obtain those "ballerina goals", otherwise known as the "ballerina look." As always, do what's best for you and don't go to the point of pain, but only slight discomfort. Let's get to it, especially because you know what's around the corner? SUMMER.

Knees:

The first thing that comes to mind when thinking of a ballerina's knees is hyper-extension. This is something you are born with, or aren't, and therefore you SHOULD NEVER FORCE IT. It does create beautiful lines, but you can be just as beautiful without those knees that bend backwards. One thing I suggest for all dancers looking for those sculpted muscles is simple. Use them, especially in this region by "pulling up" your knee cap. This engages your muscles in movement, using them for initiating movement, rather than your bones or joints.

The difference between pulled up and relaxed knee caps. 

 

Calves:

Your calves are probably constantly being worked if you are doing pointe, or just ballet in general, since your foot is in a pointed position more than a relaxed one. You should engage your calf anytime you point your foot or straighten your leg to get the most efficient workout. This usually means pointing your foot all the way to your toes, as well. One good exercise for your calves is relevés. It is best done in multiple positions, as well as doing them on one leg. You can also make it more challenging by standing on a stair so that when you lower, you are going further than a regular standing angle of the ankle. 

Because you use these muscles so much, they get very tight, and there lots of stretches, but downward dog or simply extending a leg behind you in standing position does the trick. Stretch it often during class (especially after combinations) to prevent them from cramping and becoming even tighter. 

Feet:

Feet are often mesmerizing beauties, or the thing ruining your line. You can improve them of course, but it isn't hard to cause damage. Strengthening wise, there are two major things. Theraband and how you use your feet in class. You can buy Therabands of different strengths and what it does is cause resistance for your feet as you point and flex, and helps you work your whole foot. On that subject, during class anytime your foot leaves the ground, extends along the floor, or rises up to relevé, you should be using all parts of your foot. Think of massaging the floor (or even air) and articulating how you point your foot. 

Now as for stretching your feet, this is where you can hurt yourself if you aren't careful. Stretching them on your own (with your hands or the floor) is the best way to stretch them because you are in control and can ease off if it's too hard of a stretch. One way, is to sit with both feet straight out in front of you and gently push on your arches, working your way on to your toes, eventually pushing on your whole foot. This stretches your hamstrings as well. Another way is to stand, and cross one foot over the other so that the top of your foot is towards / on the ground. Plié both legs (slowly), pushing the foot crossed forward, with that heel slightly outward so your aren't stretching in a sickled position.

Pointe Shoes and the Difficulties Within - Part 2

CONTINUED...


Bloch (heritage & european balance) - Bloch continues to get better each year, including their pointe shoes. In the past, the shoes were very boxy, and "blocky"... ironic considering the name. They now have a sturdy build, are cheaper in price compared to some brands, and can be worn by dancers of all levels. This brand's pointe shoes fit people with generally wider feet, but the heritage tapers more and the european balance is wider with less taper. Bloch is a great option because it fits so many different foot shapes, and don't die fast. I might consider trying them again in the future, I just felt that I couldn't get on my box as well as other brands, but did feel that it hugged my foot nicely other than that.

Bloch. Credits to: www.blochworld.com

Suffolk (spotlight & solo) - I found (almost) success with these shoes and definitely can always keep them as my back up plan. They are a newer shoe, but can work for both "archy" and "non-archy" feet. I would consider myself right in the middle of the two, and found that it fit to my arch very well, probably because it is a 3/4 shank. This allows your arch to be accentuated, without any digging in, and can help those with flatter arches get on their box. My only issue with these is the box, speaking of which. With the Suffolk Spotlight, they felt really (and I mean really) nice the first few classes, but died fast after that. I didn't have them much longer than the Freeds. The Suffolk Solo is gene
rally a harder shoe overall than the Spotlight, but was slightly restricting me from pointing the lower part of the shank, the part by my toes. They do look nice, and because they are newer shoes, I'm there will be even more variations of the existing ones in the future. I highly recommend these for a try!

Suffolk. Credits to: www.discounts4dance.com

Freed - Two words : two weeks. That is how long these lasted me. You have probably heard this, the fact the Freeds don't last, and that is because these are more performance shoes. Hence professional ballerinas use them for one show, and one show only. I don't have much say on these since I had little time with them, but they are very narrow, and do taper.

Freed. Credits to: www.motionunlimiteddancewear.com

Russian Pointe (lumina) - I've had these for a week now, and find they work pretty well for my feet so far. They don't restrict me from from my foot or getting on my box, and aren't narrow like most Russians. Considering I don't have narrow feet and fit these shoes how much brands evolve and expand their selection. Russian Pointe's shoes are louder than others when hitting the floor, and also require some breaking in by the hand, but do last long from what I've heard. They are like Grishko's in the way that they help make your feet stronger because they are a harder shoe, as well.

Russian Pointe. Credits to: www.allaboutdance.com

Stay tuned for a blog on preparing your pointe shoes for a more efficient fit!

Pointe Shoes, and the Difficulties WIthin

Pointe shoes, or should I say "toe shoes" according to the general public, are a major part in a ballerina's career. In fact, they make a dancer complete when dancing in a ballet. It is often the first thing that comes to mind when you hear the word 'ballerina', how effortlessly they glide across the stage, as if the pointe shoes are part of their feet (sort of are, when you think about the time spent in them by company dancers). They are stunning, but incredibly hard to master and, for me, incredibly hard to find for YOUR feet. By that, I mean that everyone's feet are different and require different a fit, luckily with a huge variety of brands and sizes of pointe shoes to choose from. That is what I aim to do on this blog: give insight on pointe shoes and some helpful pointers to help you reach your potential on that one inch tip made of wood. This will kind of be like a science class on ballet, specifically pointe shoes.

*I am not a doctor or professional pointe shoe-er (probably not a thing), just someone with some experience who's sharing helpful tips learned on the difficult journey to finding the perfect pair (still on that journey). You should always do whats best for you, and if what I say with affect you in a negative way, please do not do it.... thanks! Also, for terminology help, check the Dictionary page on my blog.

To start, here is a list of existing pointe shoe brands I could find:

Bloch, Capezio, Chacott, Freed of London, Fuzi, Gaynor Minden, Grishko, Mirella, Prima Soft, Repetto, Russian Pointe, Sansha, Suffolk, Só Dança.

Here's my thoughts on the one's I've tried:

Grishko (2007) - My first pair of beauties, must I say. At the time of starting pointe, I had a teacher who taught a more Russian style, and highly recommended (more like requested) us to start by wearing Russian Pointe or Grishko. I have wider feet, so Russian wasn't an option for me (or so I thought). I think she did this because these shoes were harder than others, and our feet would grow stronger faster, which did work for many of us
. Grishko's worked very well with my feet, and still do, but don't quite showcase the arch that I really have. The box is very nice, but the shank breaks in in mainly one place, and that place wasn't the highest area of my arch, which is why I never felt the shoe hugged my foot. It is also very tapered, which I now think may have contributed to my bunions (as well as inherited genes). These shoes are definitely up there on my list of preferences.

Grishko. Credits to: static0.dancewear365.com

CONTINUED IN NEXT POST... sorry, it's just a bit of a big topic.

Leotards - Part 2

And the madness continues...

Everyone has their "type" of leotard to best suit their body! I'm about 5' 2", with long legs and arms, short torso, and usually fit best in an adult small. My body slightly represents the "ballet body", but I continue to learn more about leotards that help to accomplish the line I'm looking for everyday. I'm going to share what works for me, and what may help with other body types, as well.

First of all, if you are looking for a brand that comes in a variety of cuts, I suggest Mirella. Not only can you find simple and detailed leotard of different styles, but they are a very nice and sustainable fabric. When making custom leotards, you may feel overwhelmed with options and which one works best, so choosing one that's already made may help find what you're looking for.

Some of My Array Leotards (feel free to comment for specific details)

High Cut Leg:
We all strive for the mile long legs, but have to work with what we got, so this is something that is very useful. When your leotard goes low, to the point where it might even look like shorts, it cuts off your leg length. A higher leg line, not uncomfortably high (let's stay away from the 80's for now), but just below or right on the hip bone, is magic. Plus, it gives you an easier time of seeing your turnout muscles... ballet attire is meant to show your muscles (a.k.a. hard work).

*if your like me with a short torso, you may want to avoid the above, so that your torso isn't non-existent.

Low Back:
This is similar to high cut leg, but makes your whole body seem more lengthy, rather than just your legs. This is one of my favorites - it shows all the muscles working with each movement of the upper body.  It just gives an overall elegant look.

Boat Neck:
With broad shoulders and chest, you want to aim the focus downward for a more proportional look. A high and wide neck accentuates your collarbones, and draws the attention inwards, creating a flattering look. A cap sleeve will help to blend your shoulders into your torso, too, which is a bonus and looks more delicate.

Open Neck:
For me, my upper body just naturally isn't very prominent and is thinner than the rest of me, which comes off as slightly "sluggish", in a way. With leotards that pinch in the front, have thin straps, more open, and a square neck bring the attention upward, helping to improve my presence. This, prints, and embellishments towards the upper part of the leo, help to draw attention away from wide hips, as well.

*avoid this if you have a large bust... you probably are going to need more support.

Even though people still believe you won't make it into the dance world if you don't have the right body, you can. Being able to find the perfect attire to suit you will take people's mind off of the lack of hyper extension or long legs, but allow them to just watch you dance yourself silly. Body type should be the last thing restricting you from dancing, but hopefully this(these) past blog(s) help you to incorporate some pizazz, excitement, and just give you your most flattering look!

Leotards - Part One

Ballet seems pretty straight forward, style wise, especially in some schools. Usually if a ballet company has an academy or school as well (Ballet West - Ballet West Academy), the students have to wear specific leotards, tights, and even shoes. But every ballet dancers' guilty pleasure is getting new ballet attire. At my studio, we have one day to wear colored leotards, and every other day is black. Since they only require a color, I get to show my outside style in ballet class with a variety of leotard styles - only slightly, though. This blog(s)* is mainly about how to find the leotard that seems to draw the eye of others, my preferences and favorites, part of my "collection", and how to find the right type for your body.

*Since this is a big topic, I will be splitting it into two posts - get ready!

When I look through a new Pointe Magazine, there is always one section that I know I'll LOVE - the section allll about leotards, skirts, legwarmers (etc.), oh my! But what I love most about these pages, is that it doesn't just list pretty and popular dance items, but what is "in" and stuff that matches the season. For example, in my 2014 April/May copy, they have two pages dedicated to how to add a hint of "Spring" to your rehearsal look. Dancewear hunting is super fun, adds pizzazz, and personality to the "usual" rehearsal look (if it's allowed). Take advantage of it!

Wearing leotards that follow along with what is going on outside can catch eyes, but also just finding ones that are flattering. Having knowledge about leotards and the ones that work for you will work to your advantage in many situations, especially auditions. Everyone should have at least one leotard that is just very basic to show your "lines" easily. Sometimes embellishments and cool straps are can distract from your dancing. Discount Dance is where I suggest looking, especially for basic leotards. They don't need to be as high end, and that website has a wide range with reasonable prices (score!). But, it is nice to have a leotard that is your "go to", which is usually higher quality and therefore, lasts longer. Yumiko is a brand of leotards that is a "design yourself" type of site. They carry different styles that you get to choose the color, fabric type, sleeve length, etc.... but there is a down side. It is VERY pricy because you design it and it's VERY well made. They have basic styles that you can make to fit your body perfectly (huge bonus), but I would start savin' up the cash (bummer). Not only is the type of style important to feature your body, but the color too... you should know your colors.

Gorgeous (cheaper) Yumiko Look-Alikes. Leotards and Picture found on discountdance.com 

That is all very important, but one of my guilty pleasures is having fun with it.  In fact, I find myself getting a little crazy on some websites (my cart will end up at about $500)... oops! Again, I suggest Discount Dance. They have tons of leotards (and other dancewear), a variety of brands, styles, colors, price, etc.. I would be lying if I said I didn't go on there weekly. Then comes the second most time consuming dance clothing website... Eleve. I could spend HOURS on here, especially because it is a "design it yourself" as well. You choose the style of leotard, then pick the fabric, with a choice of mesh and patterns (something not available on Yumiko). It is pricey as well, but not as much as Yumiko. Plus, the owner of the brand used to dance at our local ballet company, Ballet West!

I could make this blog last until the end of the year (THE HOLIDAYS ARE COMING!), so I will finish it next time to give your brain a small rest.

~Hayden 

Port De Bras and All That Jazz

As you may or may not have noticed, I have been writing my blogs in order from head to toe, therefore the title, "Bun to Ballet Shoes". That is only related to the blogs on physical attributes of a ballerina, not necessarily the super personal ones. Today, my blog is a mix of the two. Since I last did the "ballet bun", today I will be talking about port de bras (again, refer to my dictionary), the often unnoticed aspect when watching a ballet. Port de bras refers to the movement of your upper back and arms. When you see professional ballerinas perform, they are mesmerizing, and it's hard not to focus on the big, grand movements because, well, they're big and amazing. But what is often less noticed, is their arms and the control and energy that goes through them. Ballet wouldn't be nearly as graceful without them, they are just doing the more subtle movements.

In class, you are constantly thinking, "What do I need to fix, now?" and do your best, with the teachers help, to fix it. It sounds a lot easier than it is. There are sooooooo many things to focus on in just one simple combination...sometimes, it is a little overwhelming. That's what makes this art so exciting, though! You always have something to work on, and for me at the moment, it's my port de bras. This has been an issue for me for a while, and now it is REALLY becoming an issue.

My brain sends requests for my leg to go there, my foot to point, engage this muscle, relax that one...and so on. For some reason, my arms aren't getting their messages all the time. Yes, Houston, as in my brain, we do have a problem. If I don't focus on just my port de bras, and port de bras only, I don't use them in the right way. Instead of using my arms to continue each movement and hold them stable, they start to droop. The thing that I have to focus on when trying to fix this, is to engage my upper back to relieve some of the stress from my skinny little arm muscles. If I just lock my shoulder blades in the right position, I still have that range of motion, but I am using my muscles, rather than just placing them. I like to think of it like I'm moving through peanut butter... it adds much more artistry to my dancing. In the video of Polina Semionova, try to just watch her upper body movements to notice how much they add to her dancing.

While I am still trying to figure that out, it will be the bane of my dancing. But because I see the beauty in it when watching other ballet dancers, I am really aware of its importance. I just need to really "feel the peanut butter", and maybe, some arm strengthening as well. In fact, we can both check out this video on upper body strengthening and posture.

Hayden

The Ballerina Bun

One very important part of the ballerina "look" is found the top of their head...otherwise known as a bun.  This bun is different from the stylish up-do that you see on the red carpet or the messy bun that is perfect for when you are running late for school.  A ballet bun is tight like the clothes they used to wear in the 70's, and let me just say, they are just as uncomfortable as the disco pants.  But, this post isn't about how a bun compares to older styles, but the mechanics, tips, and the effect a bun has on a dancer.

The three critical points in having the best bun possible are:  1. It is just about impossible to have a smooth ponytail with clean, dry hair. 2. Bobby pins and hairspray are vital. 3. Flat and big is ideal; you don't want to have a baseball sitting on your head.  A bun may not seem like a big deal, but trust me, it is.  When you are having a bad hair day, it throws you off and distracts you throughout class.  To avoid this, I do my hair when it's wet or when it's not freshly washed and then spray it with water.  This helps to get all my hair going in one direction and to have more of a grip.  

To start, I slick my hair back in a ponytail at the crown of my head and secure with an elastic.  Now this is where you can have some fun.  Doing the same style bun over and over isn't too exciting, so I enjoy finding new ways to do my bun.  You can look through these videos on YouTube to see different bun techniques.  Once you have secured your bun with your never-ending supply of bobby pins, you are ready for the glue.  Glue, a.k.a. hairspray, holds down all those baby hairs that like to stick straight up off your head.  When I have a important rehearsal, audition, or performance, I can never use too much hairspray.  At the end of the day, I've got a hemet made of hairspray.  You can always add little flowers, bows, headbands, etc., but a "slicked back bun"is the most classic and simple way to style your hair.

Less classical bun, but cool! (credits to ladylifehacks.com)

Like the quote "what separates the men from the boys," you can get a slight idea of the kind of ballet dancer someone is by their hair.  Someone who has a bun that you can tell obviously took time and practice may be a more dedicated dancer.  While someone who shows up with a frizzy and loose bun, may not be as determined to be "like the pros."  There are those too, who show up with a "doorknob" on top of their head, which may mean they are a beginner or less experienced dancer. Of course, this doesn't apply to every situation, it just shows that bun can say a lot about a ballerina and really is an important part of this art.

Hayden