Michelle_Richer

As Terpsichore said, I was at Northern ballet with her today, although I have missed a couple of weeks of their show sequence, I must say I’m quite impressed with what they have done. For me, today was as much about checking out the feasibility of adding in the two classes at Northern with my existing classes in London on the same day and trialling it. One expensive mistake I made was going to a Leeds high street salon and getting my hair done just before class, silly me I didn’t enquire the price beforehand, it was just over twice the price I pay in my local town, but unfortunately they cannot do it o a Tuesday now, as I leave home at 6.30am for my ballet classes. Although it was very short, I still got a very brief chat with the girls and a coffee before catching my train south, there was just enough time. However there is not enough time to trim off 15minutes at the Studio I hire in Shoreditch, although I didn’t have a session there today as it was already booked for auditions, I’m in it on Thursday this week, never the less I still went there to check timing. I arrived at 4.05pm, its too tight and does not allow me to get changed or set the audio equipment up which only takes a few minutes. So the start time will remain at 4.15pm, the last leg to ENB will be tight, as a result I have pre warned my teachers as they know what I am doing. Tonight at ENB was really nice, I managed to get in early and had chat to some of the professional dancers prior to class. Level three class was really nice, I’m sure our teacher wants to evict us up to level 4 by the end of the year as she was extremely complementary this week. Finally got home at 1am (not for the faint hearted).

Terpsichore You haven’t upset me at all, the girls a Northern are some of the nicest I have met, they are truly fantastic and I really love going for coffee and a chat with them after class. As for Odette, I’ve danced that part from various scene from Act 2 several times, have the tutu and headdress for that one too. Never done a full Pass de deux, as we always have to share our guy, so we only get him for part of it. Last time it was 8 girls between two guys. And of course it must have the mime scene in it; otherwise it’s not the real Swan Lake to me. Look forward to seeing you tomorrow.

If by special dispensation this bad girl is allowed into heaven, it has to be Odile the Black Swan from Swan Lake, this time she gets Prince Siegfried. Terpsichore you make me feel so old when you talk about me in an over 55’s class, it does nothing for my street cred on this forum, at least at tonight’s class they are all teen’s, my age group really, ha ha. It would be gorgeous to dance to the limit without the fear of injury, cracked my knee this morning trying to do elevated splits with suspension in preparation for grand jete’s on a trampoline, no lasting damage just a reminder of an old injury.

Wow this was not the response I was expecting about the arm positions, The usage of the term High "V", is used in ENB, LAB and City and extremely common in LAB. My understanding for Open fifth is Fifth en haut with the arms opened out into a V shape with the palms still pointing in/up, equally that V shape could have some rounding but basically the hands are considerably further apart from standard fifth en haut. For High "V" the palms are inverted, facing outwards/down. The reason I ask tis question I inadvertently corrected one of my teachers when she was demonstrating a short enchainement next to me and referred to the arm position as "Open fifth", I automatically said "Don't you mean High V", as the palms were pointing out/downwards. It wasn't me trying to be a smart arse as I think a lot of this teacher as she has been a really good friend. Had we not been next to each other and in eye contact I don't think I would have said anything, it was just spontaneous as she had my complete attention. She teaches RAD and ISTD syllabuses, I was hoping to see a friend of mine in RAD on Thursday and ask her but she was not there this week, hence my question. LAB Gala last year was a sell out and the same thing could well happen this year, it is a little expensive, I personally think its well worth it, there will be some professionals there too for the guest spot. Had the prices been lower then the dancers would have to pay a performance fee to fund it, as it is providing each dancer can fill approximately 6 seats in the audience, it should be self funding. I personally have three that have already bought their tickets and several possibles.

Hi Spanner I agree it run its course. I did come across something the other day in one of my classes which leave me a little confused, and that's not difficult as most would agree. What is the difference (Arms) between High "V" and Open fifth, only a beginner would ask something so simple.

Hi terpsichore Yes I hope you can make it, it would be lovely to see you there, especially the evening one. Hopefully after the end of the show some of us will get together for a celebratory drink, but I must be off pritty sharpish after that as Im on dress rehearsal at the Angles Theatre the following morning at 10am and its about 30mile drive from home. Yes Im booked at Leeds, had a lovely email from Annemarie our teacher on Friday, Im really looking forward to that in spite of it being a very long day. How fare have you got into the music with your rep for the show, how many phrases?

Awww Aileen and Spanner I’ve had a lovely ballet free day in the tranquillity of my beautify garden by the river until 8pm, I was so looking forward to playtime on the forum with my friends. Oh shucks, spoil sports, I love playing the bad girl, got my uniform today a Black Swan tutu from JB that should reflect my character. LAB Gala 2014 Sat 5th July 3pm & 7.30pm Seating for 500 Duration Approximately 2 hours with an interval Not sure when Open booking starts Tickets: Stalls £22.50, Circle £18.50 Under 16 and registered disabled £15 all seats LAB itself is made up of 3 different schools that meet every week, this last term that has been increased to 4, the fourth for pointe only for those experienced on pointe that will contribute to the Gala. I'm not sure on the actual number of performers but it will be somewhere between 70 and 100 LAB dancers with a section for a guest performance. The format of the classes are similar, about an hour of company class (Barre and Centre), for my class the standard is similar or slightly higher than ENB level 3, much the same as most ballet classes sometimes slightly orientated towards rep. The second hour is spent learning and rehearsing rep re-choreographed for our particular group size to perform in the show ( multiple scenes from different ballets). Audience base: Largely friends and family but open to the general public, I personally have ballet friends, Salsa friends and some of my teachers coming. My salsa groups at one stage even suggested getting a mini bus load together, wow a fan club, but that was possibly pie in the sky when is comes down to it. I think that is as much as I can officially tell you at the moment

Janet: Why is I see this as group responsibility to each other and operating in a way that is beneficial to the group as a whole, am I alone in expecting others to share that responcibility and outlook. Why is it that I was the only one to offer help, I care so what does that say about MY comitment in contrast. Tulip Yes the dancers in question do know of my strong feelings on this matter, as for what has taken place on this forum obviously not. But then neither has the school been named or the dancers in question. Furthermore It was not I that requested videoing of the show sequence but another dancer, I simply indicated my dissaproval. The rest has developed as a result of remarkes from other members of this forum to me. But I say again , I was the only one who could be bothered to help this dancer. As for “Do they turn up for all the rehearsals”, there are usually a few missing each week and seldom is everyone there, I seldom mis any of my classes and then by planned prior arrangement.

Janet I do not believe a risk existed that would result in the rehearsal clip finding its way on the internet in this particular case. As for your next point. I don’t like seeing myself on video but I do see it as value to the group as a whole and me personally for my own shortcomings. I have to take what I see aesthetically of myself on the chin as that’s reality, warts and all. As for the way I dress on Intensives with a full professional tutu, everyone has that option, but mine is in keeping with the rest of our corps de ballet both in general style and colour (white). I could understand your point if I turned up in a Black Swan styled tutu. In any case I also had a white practice one with me should it not be seen as appropriate by my artistic director. It’s also true to say many of the dancers had different coloured leotards with their practice tutu’s, so the dress protocol wasn’t that rigid.

Mimi As for “are you taking back what you said about your fellow dancers who refused to be filmed by an amateur cameraperson ("not serious performing dancers")” The point I subsequently made explains clearly my position, and I do not restrict this to an amateur cameraperson, it could have equally been the teacher. , My issue is, I see dancing as a group (corps de ballet) as having a group identity and responsibility to each other and operating in a way that is beneficial to the group as a whole. If videoing were to take place then the different formations during that choreography would be as fully populated as the dancers present. Whilst I have to accept those that decline have the right to do so, I would not use the word “respect” in the same context, I am personally sadly disappointed by their attitude. In plain and simple terms I see this as the objectors not caring about the group as a whole and not helping when they had the opportunity too, in other words “not my problem” and YES I do see that as not being serious performing dancers as I strongly believe were are there to support each other in that corps de ballet setting in whatever way we can. That's why I offered to help. As for “and your dismissive comment about normal ballet class ( "your standard everyday recreational class"). I don’t see anything dismissive about that, doing an enchainement for performance takes considerable more time learning and polishing through rehearsals to a far higher standard than a regular class which runs far shorter sequences only once or twice on each side. The requirement to perform as I highly synchronised group is far less intense, and your focus and dependency is now on your own performance as a regular class rather than that as a group. This particular point was never intended to be dismissive but illustrate the differences.

Lin The City Academy one was done professionally, it was well before your time with them and wasn't released until about a year later. And of course LAB have some quite old clips on their website too, and the odd recent photo. We had a photographer round last week taking lots of promotional photo's which I think is now down to 18 possibles. No one in our group at Battersea objected at all. I guess some of us felt just a little bit proud, I did, that's what I call group identity.

Dancer Sugar Plum I agree in principle with what you are saying in your last para, this is the very reason I use a ballet teacher who is also an ex-professional ballerina for my rep coaching, for me that works well and I really treasure her. As regards being able to execute a scene from the classics from a teacher verbal description to use Mimi’s words “on the spot”, I very much doubt that even a professional dancer would be able to recite that scene back fully, that requires a phenomenal mental processing before muscle memory to dance it. To dance that scene does take time and repetition called rehearsal to establish that precise muscle memory. No one at any of my performing classes is ever expected to process that much information in one go and most have been dancing since small children. For me I simply work round the limitation and use what ever tool and facilities assist that. Mimi66 I note your point about not dismissing (1) and (2), although its academic each dancer has signed an agreement with the school to be allowed to do photographing and filming, so the consent is technically in place. So the teacher could have done that, but instead did not object but ask if everyone agreed, I really didn’t have any problem with that. My issue is, I see dancing as a group (corps de ballet) as having a group identity and responsibility to each other and operating in a way that is beneficial to the group as a whole. If videoing were to take place then the different formations during that choreography would be as fully populated as the dancers present. Whilst I have to accept those that decline have the right to do so, I would not use the word “respect” in the same context, I am personally sadly disappointed by their attitude. As for your comment “avoidance of learning essential skills (such as picking up enchainements on the spots, for instance)". I have never suggested these are avoided, but I do not allow them to become a limiting factor either if there is a work round option. I must confess I don’t always pickup every instance of every enchainement but I do most, that’s why I sometimes hang back a line or two. To do a full classical ballet scene on the spot, no chance!. But don’t think for one instance I’m deterred by that, this gal has too much determination and fire in her belly for that, I will always give it my all, how about you?

Mimi if I can just take this coment first ”please rest assured that classes led by responsible, professional teachers would not allow irresponsible filming nor photo-taking of the class (particularly by an amateur), even if it is salsa”, I guess it depends on what you perceive as “Irresponcible”. Firstly in my active days of Salsa videoing was present at all the classes and social dances I attended in all my neibouring counties and furthermore at national events like the International Cuban Salsa Congress that I attened too. I still attend one salsa class socially and the odd dance too. But for me ballet is full time. JulieW: Ref “I suppose you could just video the person, or people, who don't mind being recorded, if someone would find it really necessary.” In a normal classroom enchainement I would agree, but in a group performance piece, the piece likely to need the dancer change formation a number of times, this is a reaal headache when when dancers become absent and you just have to work round it. If a significant number were missing, videoing it would be virtually worthless. Bangorballetboy Ref “In my opinion, that makes for lazy dancers. Part of the class should be teaching the brain to receive, engage and remember the enchainement”, yes but sometimes the brain needs help untill that becomes established muscle memory, then the brain has much less to do. As for “lazy”, I do not for one instant think the person I offered help to is lazy or un motiveated. I too make use of videos and I certanly do not regard myself a lazy, how many dancers do you know that travel on a round trip of around 500mile on a single day a week and still manage to do over 5hours of ballet covering 5 different classes, that in my schedule every week for the next two month until the show date. Needless to say I do multiple ballet classes on the other days of the week too. General The main point I was making that video is a power tool to aid memory, it not a substitute for it, but memory fades with time. Also its brilliant for self correction of those errors your not aware of, espeially if your teacher ha not spotted them, to repeat the enchaimement will do nothing to correct these. This is not about working harder its about working smarter and not making do, as that’s what we have always done. I use many training aids to assist with my ballet development which does include professional videos. But then I do have my own small fully equiped studio with srung floor etc but never the less I do hire the same hall as my local ex-ballet teacher at least once a week after her class, as we are still good friend, but sometime more. I also hire a London studio for one-to-one repertiore coaching from a very reputable teacher, as well as a whole host of ballet classes, rep workshops, intensive and summer schools. Clearly we come from two different cultures, for me “the old ways are the best” will always be challenged into finding more efficent ways of achieving the same end goal.

It seems I’ve ruffled a few feathers Firstly let’s set the context of the filming, it’s for a performing class, not your standard everyday recreational ballet class, so we are talking rehearsal. The public pays money to see that performance, it’s not free to family and friends. I agree that this aught to be done by the teacher and released through a closed environment like LAB do. But even so, I do not see a committed dancer of a performing group rushing off to put it on youtube, what’s the point, that is plain and simply silly and in any case we all have a responsibility to each other not to do that. I guess one of the underlying issues is there is no strong group identity, I think its seen as, one is there just to do ones best for themselves and of course to please the teacher. I have seen a strong group identity created with one word from my Body Balance teacher, she refers to the class as “TEAM” and means it, I’m not a sporty type but when she says that I certainly feel I am doing my bit for “TEAM GB”, but that just her way and its extremely positive. I also believe that responsibility should extend to automatically giving ones consent to being filmed to preserve the changing dancing formation during the performance piece; otherwise it would not be a true representation and may effect the special awareness of some dancers faced with missing positions. If I can just take one of LinMM points “......I learn by doing and physically internalising and feeling the movements not so much by watching.” Please note I have never said that this was the only tool that contributed to learning, but it most refinitely has its place in reminding you of the sequence itself as the memory of that will diminish in time quite quicking, also your relative position with other dancers as you travers though the different formations and of course any error or poor technique on your part in the execution of that sequence, or more importanly repition of that. For me this is a culture problem within ballet but I do think things are changing as some of my other classes have allowed videoing. From my other dancing side, Salsa videoing in common place, it’s done every where, if you don’t want videoing, you simply don’t go, and that is a thriving social dance culture. Mimi66 I do love you comments about how well you pick up an enchainement in a single mark per side in your ballet classes. Firstly we are talking scenes that have multiple formations using the same dancers and last considerable longer than most regular ballet class enchainements. But I am sure you would have no problem with your vast experience and training in executing perfectly a scene from one of the classics, only conveyed to you verbally be your teacher by its classical step names. While the rest of us take a great deal of time and trouble to rehears that scene in detail before we have a hope of getting it right. I guess that’s why I dance the classics, because its not easy and I do take the time and trouble and above all the commitment to achieve that end. That’s also why I help others if they need it, that's just part of my culture.

What a frustrating week: Tuesday called in to see a local studio to finalise some details, it turns out use of the Sound system is as expensive as hire of the studio. I suggested bring my own sound system in, but they insist it must be PATS tested and labelled. That make it more expensive than the London studio I hire, so its beginning to look like a no no. Arrived at Peterborough to buy my train ticket only to be told, “There was a tube strike on, do I really want to go”. Although some lines were out, and other routes disrupted as the stations were closed, I did manage to get round the underground system with a lot of station swapping, but I was a little worried by the announcement that the system was being shutdown between 9.30pm and 11pm. Especially as my journey home started at 10pm from South Kensington after my ENB classes. As it was I managed to get back to Kings Cross for my connection in time. Although I made my classes on time, my teacher for rep coaching was delayed in traffic by the best part of half and hour due to the tube strike so we had to work round that the best we could. I had already warmed up and had gone through the first phrase of the rep a few times. Evening classes at ENB were a few dancers down, however I think their reception was expecting a lot more to be absent. Even the train journey from Kings Cross to Peterborough was unpleasant as the upper window above my seat kept flying open at the smallest of pressure changes; I think the catch mechanism must have been broken. At one period I held it shut. Wednesday Night: another rehearsal night, that was good as it reacquainted us with the almost finished show sequence after a long break as our teacher had to cancel class last week. One of the girls wanted to video it with her mobile phone. Our teacher ask if anyone objected, several did, I made it abundantly clear in a very loud voice that I did not. I couldn’t help feel it’s an awful shame such a powerful learning tool is banned for such a silly reasons. In reality it means it takes much longer to learn an enchainement and to a less consistent standard. I couldn’t leave the situation there so I have offered to practice with this young lady at her home, those that have objected I’m sorry but I cannot regard them as serious performing dancers. Thursday LAB Rehearsal: At least there we do things properly, the teacher videos our final work of the session most weeks to help dancers polish their performance sequences, I strongly believe that is essential feedback.

Hi Lin I'm not modern like you, I have a laptop, as soon as a file is available its automatically downloaded as a background task as soon as I log into my laptop. That means I can play it immediately any time, also it gets automatically deleted if Tom decides to delete it from drop box as often he replaces them. Your file is just over 56M so its not horrendously large. I'm just off to my first class, seem ages since I was there last, but sad too as I will be finishing with them today for about three months to allow my trips to Northern to do their show, at least my feet will stand a better chance of lasting out.

Hi Lin Will your media player play .MP4 files as that the format they are in.

Hi Lin Just another thought, all groups are doing the Nutcracker Finale. You should have the videos via Dropbox now, check out your Wednesday group Term2 "T2 Weds Week2b" video, I would expect you will be doing that piece as we introduced that to our newbies last week.

Hi Lin I see we are all doing "Snowflake", but your group is down for the "Spanish Dance" and Candle section of "Kingdom of the Sweets". I'm not sure how much that group has completed, but snowflakes is an easy one to put the new dancers into, that's what's happening with our group. There is another one from term 1, I want to do, but I don't think Tom is ever so keen, its quite a long and tricky one, but I am learning that outside of LAB in case that opportunity shows itself.

I visited both Dancia and El Mundo Flamenco but didn't see anything that would fit the bill. While I was in Battersea on called on a dress shop that sold party wear, they seem to think they could get one made but I couldn't get a price out of them, however I did take their contact details. So I guess I'm still looking, however I didn't manage to get to Shaftsbury Avenue this time. Terpsichore: I've had nothing back from Annemarie since her initial reply on Tuesday. Anyway I'm sure all will get revealed when I arrive on the 6th, rail fare is already booked, at least it will allow me to fine tune the logistics' as I'm hoping to trim at least 15 minutes off the start time at the Shoreditch Studio, with the knock on effect of preserving my half hour free studio time at ENB. Lin How did you get on with your first LAB session. We had a new guy start with us and three or four new girls too. For the first part of the rehearsals the newbies just watched, then Tom got them involve with one of the simpler scene's. Next week those of us that weren't there for term 1 and the newbies are being introduced to "Snowflakes". I had already asked him as that's something I had been working on outside LAB. After class most of us disappeared down to a pub in Battersea as it was someone's birthday, that was really nice end to a wonderful evening, I just took a later train home.

Thanks Jane, unfortunately the website only has on photo of the skirts they do, I guess I will just have to pay them a visit. Fiz I wish you look with the splits, many of my classes do barre stretches, one does a sliding barre stretch which is like a diagonal splits. It can be painful if you get it wrong, I'm very careful now after pulling a muscle in a cold body balance class. I was told it would take 3 months to heal, that has just passed. Although I can go down pretty low in front splits but no quite to the floor, I can still feel the remains of an injury in my leg, so for the time being I wont push it. Doing Splits will also help you with your high leg extension which can be another measure of progress.

Yes that's the one I was thinking off, I will check them out tomorrow.

Only problem with ballroom, it tends to be too long for ballet, at least this part. I know there is a shop in Drury lane that sells general dance wear a well as ballet, I may go a little earlier tomorrow and check it out and possible Shaftesbury Avenue. I've looked on line but those are either long dresses and long skirts and not what I'm looking for. I think there may be a shop in Leeds, I go past one on the way to Northern which has various dresses and different coloured flared petticoats in the window that one might wear under a flamenco skirt. I will have to pop in on the 6th on my way to Northern and see. Terpsichore How many was there in the Choreography class when you was there, is the waltz the only piece you are dancing. Has anyone thought about the Finale to close the show and how that is being presented.

Lin: Good luck with you new class, remember July is not that far away, with dress rehearsal on the 29th June at ENB, which is also the day after Northern Performance so I should be onstage there with Terpsichore too, what a small world. Terpsichore Had a reply back from Annemarie, she would like me to attend virtually every week, and certainly every week in June for rehearsal. I will be there on the 6th of May as I have an existing studio booking for the 29th April. I will review things after that first week for May especially any overuse effects as I will really be starting to push it again (over 5 hours ballet and 500miles-ish travelling). I do have two other classes I can put on ice if need be until the autumn to offset it, as I do have responsibilities to other classes for performances too. Terpsichore have you or the girls have had any thoughts about costumes yet? General: Had a good one-to-one rep session on “Dance of the Snowflakes” yesterday, didn’t get a chance to run thru the Le Corsaire scene as planned. However we have now done roll-reversal for the warm up for the past two week, its now fast and furious and doesn’t waist a lot of time, but very cardio. ENB was good last night but neither were my regular teachers, our level 2 was a teacher I have met several times and she often covers different levels, but its nice to get slightly different routines at the barre and in the centre as it keeps the brain active. Level three was a lady that normally does ENB’s rep workshops, I was hoping to find out what scenes were being taught on the next Coppelia one at the Coliseum, but unfortunately she is not doing that one. Something completely different, does anyone know where I can get a Spanish Flamenco multi-layered skirt from suitable for the Spanish dance in Don Quixote. Otherwise I think I may have to get an overlay made to go on top of a romantic tutu base.

I see "Every Body Ballet" have run repertoire workshops, does anyone know anything about this I've emailed Isabel and Karis but both are away. I did a few classes with them at ROH over a year ago, then they had only just added an Intermediate class to the ballet they were teaching.