Michelle_Richer

For anyone wishing to do the Swan Lake Rep workshop on the 26th Jan, as RAD have not got the application forms in place yet, they will accept the application using the Student application form at the bottom of the page on this Link http://www.rad.org.uk/article_pink.asp?id=169&realCat=124 Or alternatively download directly from http://www.rad.org.uk/files/ART169_Training%20Workshop%20Application%20&%20Payment%20Form%20(Final).doc I spoke to Katie Hart at RAD today 13/01/2014 and that is what she has suggested until RAD get the appropriate application forms in place for each repertoire workshop.

Hi Girls It seems a lot has been happening while I have been away, this gal has been dancing. Although my heel isn’t fully heeled it is considerable better. I left home this morning to get my hair done, I still had a limp particularly with hard pavements. After the hairdressers I pop into the bank and then a couple of shops. On the way back I noticed the limp had gone and my posture was back where it should be, that raised my spirits no end. Tonight I went to my local Salsa class at Boston, but only did the first and third classes, as I could feel the effect on my heel. I was dancing in ballet slippers as that’s my preference, however after the first class I slipped on a ballroom shoe on the right foot, although the shoe has a sold back it has a high strap which was in contact with the Achilles, that simply was not going to work, so I sat the next (Bachata) class out. At the end of the evening my feet have survived pretty well. Next Step, London tomorrow with quite a bit of walking when I go to see Le Corsair. Plan for next week, resume Body Balance classes on Monday and Wednesday, Physio on Tuesday, 2 hour ballet at LAB on Thursday. If that’s successful Lincoln and two classes at ENB back on line the next week, the rest the following week. Lessons learnt: When leaving late classes like ENB etc, is to have good stretch before leaving in spite of people wanting to close the premises. Body Balance: During the winter at least, do a warm-up workout prior to going to class in cold premises and warm clothes for journey to retain heat. No exercises when cold. No or restricted jumping on solid floors. Fitness Training Plan 2014 As we have so many experts telling me high rep load baring exercises is wrong, now I’m going to start with a clean sheet. Basically I need an exercise routine that I can use at home using a combination of my gym and dance studio, it needs to be something that does not without good reason extend beyond 1.5 hours and will be something that is used three times a week. It is for general ballet fitness. My own thoughts on this one is to create a fusion of the Mat Section of the Training DVD “Pilates + Preparation for Ballet Students DYNAMIC 5th” by Dreas Reyneke and Students of the Royal Ballet School, and “The Front Splits Fast Flexibility Program” which has a lot of commonalty with my Body Balance classes. I also need to address three specific areas this year on top of the above: First is improved and sustained leg extension though increased power to utilise my full existing flexibility. Second: Larger range in back bends particularly the lower back. Third: Better foot articulation, in spite of all the classes I do, this is something that is not fully address on a regular enough basis, its something I need to do anyway and I guess this will be to some extent be through hi repetition. For 1 and 2 I will be seeking the views and possible one to one help from my Body Balance instructor which works at my local gym, but she has no ballet experience If everyone is as concerned as suggested and wants to help, well there it is, all ideas welcome, now go for it. Hi Lin Ref “Tut tut Michelle not doing what the teacher said is getting a bit naughty now ” please note I have never disobeyed a direct instruction, releasing the barre on a rise I would say it’s the right and proper thing to do if you have the skill to do it. Alignment should be automatic from muscle memory as you take the outbreath on that rise/retire, admittedly I sometimes have to drop the hand nearest the barre to steady my balance as I'm not perfect (at least not yet Ha ha), but as a floorless technique this is what we should be striving for. As yet I have never been corrected or told it was wrong, if I had, the chances are I would challenge it, but not in front of the class. I think as well there is a bit of a culture difference between me and the majority of dancers. The Majority of dancers I dance with have danced since children, I think there perspective of a teacher is much different to mine. I think there may still be an element of dependency and approval sort in that relationship. For me it’s a partnership, it takes both of us to get me to perform successfully, that’s what I'm paying my teacher for. Finally A special little thank you to Straceydor.

Two points as you cant leave this alone: Firstly I seem to remember a figure of doing ballet for 15 years, not sure if it was you or not, but how much longer do you realistically think I have left, its possibly less than five years no one really knows, no way am I going to get to the end of my days saying I wish I had done this and life had passed me by. I've far too much fire in my belly for that and I'm by no means passive. I've a lot to achieve in that time, given the opportunity its solo with a full orchestra. Second point, is reason you struggle to understand, the logic behind the reason you think I should struggle to understand ballet and take much longer? Believe me when I get good tangle advise I do take it, Balleteacher gave me a link to Ballet Physios, that's where I found mine before she was rubbished on this thread. But hey-ho its like water off a duck back with me. Lin I love your humour

Hi Terpsichore Yes I know the lady you mentioned, she is really nice. One my first visit to Northern after class she took me on a conducted tour of Leeds, she was really into architecture, it really interesting. I love the girls at that class, we usually go for a coffee / bun and a chat afterwards at the café near the BBC. Have you been yet?. Very few classes are as sociable, some are plain and simply hard work. At Christmas if they are unwilling to go out and socialise, I at least make the effort and take chocolates in, anyway it give me an excuse to eat one. That second class for this term is a continuation as you say, it’s to cover allegro and turns which the first does not. Next term it will be Annemarie’s “creative choreography” for preparation for the adult’s performance on Saturday 5 July. Whilst I will always do that second class I will have to miss the performance as I will be doing the LAB Gala at the Bloomsbury theatre on the same day, but if possible I will try and do there dress rehearsal. After that I have a whole string of performances. My next trip to Northern is likely to be the 25th Feb, I’ve checked out the logistics to it, it’s a little different to what I had planned but basically I’m staying in Edinburgh rather than Glasgow. Sunday its Romeo and Juliet WS in Edinburgh, Monday train to Glasgow to Scottish Ballet and back to my hotel in Edinburgh after class, then early morning train from Edinburgh to Leeds with change at York for Northern Ballet, After class just time for coffee with girls (Important), then train onto London for my two classes with English National Ballet in the evening. So hopefully I may see you that morning at Northern. Hi Dancer Sugar Plum I always view your remarks with interest and the way you try and discredit mine. “I do not know, obviously, what level the lady had danced to when she stopped doing ballet” I do not know but the fact her mum was a professional dancer and her daughter basically grew up in theatres, I think should say something, Im not sure at what point her mum became a ballet teacher, but of course she is retired now but often asks after me, although we have never actually met. You mentioned weights developing the wrong muscles, I take your point on that, but in reality its only a small part of my workout. I positively don’t use ankle weights which I did for marital arts, although small (0.5kg) weights were used at one of the extend barre classes. Similarly I no longer do press-ups other than the few we get as part of our Body Balance class, again I could knock off 50 of those and not think about it, but for sure it will build muscle bulk. In the case of the two teachers that read my plan, had they felt it was dangerous or inappropriate I am positive they would have told me. I always seek a close and honest relationship between all of my teachers, not only do I try and go the extra mile, I expect them to do too, that’s just the way I am. I see we are back to technique again, I think we’ll just accept in your terms of being the time served expert that its rubbish, as I don’t necessarily follow what my class mates do or what the teacher instructs when it comes to ending plie’s or Pirouette preparation at the barre, on the rise or releve both hands come off the barre as I go up, often I end up with the arms in 5th when she later corrects to first, for me that’s force of habit. Most of my class mates are still holding the barre to get balanced, for me that’s not asthetically pleasing. I'm not saying I have particularly good balance as I get good days and bad day. I have managed a minute but usually it only tens of seconds, personally I really would like to take that up to 4 minutes, a challenge issued by my local teacher in jest at one time. Arms going into 5th with en dedans pirouette is definitely something I get corrected on when my teacher just looks at me and says “First Michelle”, and I think “Oh s***t”, done it again, its not I cant do it, but 5th looks some much nicer. You could argue my technique for en dehors pirouettes from 4th is rubbish because again I don’t necessary follow my teacher example or most of the class, my leading arm during preparation is strait (a kin to an arabesque) rather than curved in first, for me it creates a better line, as yet I haven't been corrected on that one. Another thing I sometimes do unless the end of the pirouette is specified is to land in Arabesque where the back leg remains off the ground, just to show off balance. It wouldn't be the first time I've held a conversation with the teacher, done a pirouette, come down to flat foot with the pivoting leg but held the retire and carried on the conversation, but of cause the hands went casually to my hip, I agree appalling technique. In travelling turns again my technique is pretty appalling, although I can spot and travel in a strait line, circle and through a crowd of dancers. If the teacher doesn't specify the ending unfortunately I have a habit of dropping into pirouettes, more properly an en dedans, then swapping the pivoting leg into a en dehors landing into a fully downed curtsy. As I said appalling technique as my teachers have never taught these at any of the classes I attend, but at least I have style and the drive to succeed. Going en pointe, we have established my technique is rubbish, so let have a look at the other attributes. Well there is not just one teacher but two teachers that are willing to take me on en pointe. For me its no big deal as to if I can achieve it or not. I would never draw the conclusion that my teacher are rubbish or have questionable motives for doing so. In any case I think I have only had about three classes possibly four when we lost the time slot for youngsters pantomime rehearsal. There were only 3 adults in that class, one girls that just needed practice as she was already on full pointe, me and another girl that had never done it before. The time we had was spent strengthening the feet through various exercise, the other girl I guess was about 20 years younger than me. One of the exercises was to take the weight on one leg with the other at cou-de-pied and hold for 15 seconds, my friend struggled a bit with that, I flew past a minute then started to go into arabesque and attitude bringing the foot in front, admittedly I couldn’t balance as I still had my fingers lightly holding the barre. For me that was awesome, it felt that I was a lot higher than I really was. The profile on my right leg was good, nearly strait, but my left was much worse, further more I could feel an old knee injury that I had forgot about, whilst I could do the 15 seconds easily on that foot, I didn’t want to push it. Although I had gel ouch pouches on both feet, I was expecting them to get sore very quickly, but on the first class I found my little toe started to get sore so I fitted some gel tubey things to both little toes and that certainly fixed it. As for number of classes of 3 x 1.5h a week over 2.5 years being the boundary, then I've just reset that for myself. At one time I could nearly double that in one day with 7.5 hours of ballet, but as the Achilles issue started to show I have shed some of the less important classes, needless to say I still do multiple classes most days. I guess my most extreme now is 4 classes which covers a 500 mile round trip where I leave home at 6.30am and arrive back at 1am the following morning ready to leave home again at 10am the same day. Also I do not count the fact that I have my own dance studio and I also hire the same hall as one of my teachers (now ex-teacher), although we are still friends. Neither do I count repertoire Workshops, Master classes or Summer Intensives. Aileen I think you’ve got it in one, I will always make my own mind up and make my own decision, that way, if its wrong then its my mistake, but never the less I will always push the envelope of what's possible. Perhaps you can explain where the evidence comes from to show that “More Hast” and “Less Speed” are directly related, I would be most interested in that correlation.

Hi Lin Cambridge for me is quite local, about an hour away by car. Its a different location to the last one RAD run in Cambridge, that one was at the Colours studio. I met one of the girls that did the same course just before New Years when I when to see Jewels at the ROH, she recognised me, she will be there too. Also one of the Chelsea ballet girls will be doing that one, I first met her at RAD. I really do think a strong core of Rep dancers are now coming together and especially as RAD are now recognising that and offering substantially more classes, we just need to make it work by spreading the word and getting the attendance up. PS RAD usually send a clip of what the rep is based on about a week before the class, but its only as a rough guide, but never the less is quite helpful.

Hi mimi66 I've just had a quick glance through and see Extend Barre, one of the girls from one of my classes who is a qualified ballet teacher in her own right, but joins us. She did qualify recently in Extend Barre, I'm not sure if it was here or in the US. That how it was introduced by our regular ballet teacher. The Ballet School now offers Extend Barre, I did do a couple of sessions as that was offered while our regular teacher was away for a couple of weeks. It was fun and quite cardio.

Hi Lin You have to remember I work closely with these organisations, I was given advanced info which I posted on the thread a few weeks back, but at that time I did not know the addresses. That has since been posted on the RAD website, follow this link http://www.rad.org.uk/article_pink.asp?id=169&realCat=124 to the bottom of the page. I spoke to Nathalie Delorme tonight as there is no application forms on the site yet, I have asked her to email me them all and yes I will be doing them. I have also ask another one of there training officers to send me the course flyers, so I can get the put up in Pineapple and Danceworks etc. I've just booked the hotel tonight for the Spring Intensive, I'm at the Travel lodge again. If I get the forms tomorrow I will email you a copy, that's if they have them.

Hi Spannerandponey Thank you for those kind words. In my martial arts training things do get somewhat intense, so what I’m doing is actually rather tame, but I guess the rises have done their job as they don’t even bring a sweet on anymore. I think also the years I did with marital arts I never had an injury other than pulling a muscle in my arm with double reps with weights as it became too easy, even in sparing I never got hurt as several of my friend did sustain broken bones at one time or another. I guess to some extent you tend to build a self image of being indestructible. Since I’ve been doing ballet I have sustained far more injuries, but not due to ballet itself. The closest thing and I think responsible for the developing Achilles issue was jumping on solid floors, both in my local class and early on at my dance fever class where the trainers I had were unsuitable in terms of shock absorption, that took a while to find suitable ones which I now have. I remember one evening being at a Salsa party where we were doing a party dance which involved jumping, I guess my ballet training did give me higher jumps, but not on a hard floor in ballroom type dance shoes, that stopped me dancing for a couple of week. Mimi66 Thanks for finding that reference to 6th and 7th. I have checked Gail Grant’s “Technical Manual and Dictionary of Classical Ballet”, and that doesn’t go above 5th, generally that’s my bible. Lin What all this talk about a hobby, this feels more like a job. I would never spend this amount of money on a hobby. Just been looking at the logistics tonight of doing the Romeo and Juliet workshop in Edinburgh, followed by Scottish ballet in Glasgow the next day, with Northern Ballet on my way back to ENB the very next day. I do think there is a place for gym type of workouts to keep up ones physical fitness for ballet, as they say “Use it or loose it”. I take your point about the personal trainer, I will see if I can squeeze one in, the one that take me for the Body Balance class twice a week, I have already spoke to her, but this could lead to even more controversy on this thread because this gal never gives up. Janet Sorry I forgot, thanks for the video, it’s very much like our body balance classes, but we don’t have the cardio bit.

More detail of Adult Repertoire classes from RAD, but application forms are not in place yet, I rang them today (08/01/2014) Swan Lake: Sun 26 Jan (16 Jan Closing date) 10.30am-1.00pm at Herongate Leisure Centre, Charnham Park, Hungerford, Berkshire RG17 0YU Cinderella: Sat 15 Feb (27 Jan closing date) 10.30am-1.00pm at RAD headquarters, 6 Battersea Square, London, SW11 3RA Romeo & Juliet: Sun 23 Feb (3 Feb closing date) 3.15-5.15pm at Morningside Dance Academy, Grange Studios, Grange Road, Edinburgh, EH9 1UQ Giselle: Sun 29 June (9 Jun closing date) 3.00-5.30pm at St Marys School, Bateman Street, Cambridge, CB2 1LY

Wow what a response: Lin The sixth position I guess is a slang term to cover feet in parallel. Is a position used in classes often prior to Plie’s to warm the joints from the hips down to the feet, mostly by turning the feet in and out and flexing the feet via tendu’s in 6th and 1st, also rolling up and down the ankles in plies. Mostly done facing the barre, I’m sure you will have done these before. I’m sorry I inadvertently left a little bit out of the Load Baring Grand Plie’s its in 2nd and you are right, the whole workout is done on demi point. OK about booking the Giselle Workshop for Feb, I was already booked for that one, I’ve transferred the last Swan lake one I missed to the next in March, but I have also been chivvying RAD this afternoon on the phone to get the application forms out, particularly for the 26th of Jan Swan Lake Workshop which I will now make. Mind you it must be around a 200mile car journey each way for me as there is no suitable trains at the times I need. General: I guess it’s the way I tell them! The list of reps I posted was based on a suggestion from Spannerandponey that I check them with my physio. At no point did I suggest I was still using these whilst I had an injury. In fact everything ceased, not even floor barre. As it is, I will resume Salsa on Friday evening, Sunday I will resume fitness with Scottish Ballets Core de Ballet which is mostly floor barre which I tend to use as a cool-down, then gradually increase during the week until Thursday when I restart with my LAB classes. As for my Physio’s opinion, as stated, this is based partly on observation of my demonstrations and partly on the fact that my training program has been going for over 18months and the fact that my body has adapted to it. Also some of this originally came from adapting some of my martial arts training where it accepted that strength building means exercising into fatigue. Also at one time I documented my training program (Morning Workout), I circulated that with two ballet of my teachers and the lady that runs our Salsa group, she did ballet until she was 20, her mum was a professional ballet dancer and later a ballet teacher. Her only comment to me was, how often was I going to do this? once a week? She was somewhat surprised it was a daily workout. This lady was a schools PE teacher and does a lot of dance / pe training privately now. I used to do a Sunday morning “Awesome Abs” class with her and a few other girls, I remember when we were using abs boards, the others used to get 20 reps to do, I used to get 40’s and 50’s with her. One day I ask her why?, she said “I know you can do them”. My other teachers whilst surprised also have the advantage of knowing me well and my capability, did not criticise it adversely. Coming back to the Heel-drop protocol where this all began, after the all clear next Tuesday, that will be resumed, but this time only as drops. Personally I find that procedure quite tame and incredibly easy to do without injury. However it will to some extent feature in my long term workout plan if nothing else to help against Achilles Tendinopathy reoccurring in the future. Finally as many on this thread have recently emphasised it takes a very long time to acquire the necessary skills to dance, would you all suggest I give up now? Or what? My cooldown

Hi Spannerandponey I made a check list this morning before going to see my physio to make sure I addressed all the instances I have of high repetition endurance exercises. These included: a) 200 rep rises in batches of 50 spaced through the day. 200 Rep resistance band workout each foot in batches of 50 before alternating the foot c) 50 rep demi-plie’s with a pelvic floor exerciser for resistance d) 30 rep grand plie whist on demi-point carrying a 20kg load via a spinnaker bar. Her response was, if that’s what I was used to she see no problem in what I was doing other that if I was doing rises then the resistance band work was a waste of time, but when I explained that this was usually to kill time waiting to get into class/studio, she thought it was a useful exercise to warm up the feet. Dear Dancer Sugar Plum It seems I must give you correction, you have miss-quoted me, I said “that a climb up is in fact a slow rise”, you have said that I “describe a rise as 'climbing”, That is like saying a house is red, therefore red must be a house, if you get my drift. You mention other aspects of alignment on rises and releve’s but no mention of breath, isn't that important? particularly the out breath and its effect contracting muscles? You also make the point “Heel drops in parallel/6th position are dangerous if your knees are not aligned with your hips and feet correctly. it's the same if it's on one foot”, if they are not usually that suggest miss-alignment due to forced turn-out, but in 6th position that just doesn't make sense, what is the mechanism that give rise to rolling the feet? For Rises from first position, if there is forced turn out, the decent will not land correctly at its origin and an attempt to re-correct it would seem futile. For 5th Position there is virtually always some forced turn out at the knee as the hips only account for 130 degrees, with knees 20 degrees forced turn out and 30 degrees from the ankle. I cant recall doing rises in 5th but I am sure we have, but releve’s yes very common and I can fully understand how foot/leg damage can take place with excessive forced turn-out. I thought I had already made the point that I understand the significance after injury of getting back to correct alignment/technique, I know I will have issue, you can feel it. I'm sure many of my teachers will provide that correction without any prompting as they are fully aware why I'm absent. I like the way you assume the professional are perfect, life not like that, they are very good but they are human. I see differences in timing, both from company class and in performances, but never on a recorded DVD. A term Mimi66 is fond of “spatial awareness”, I see crooked lines in performances. Yes its all very difficult and the professionals do an excellent job, but to perfection, not quite at least not every time. For me I'm not a professional and do not have the body or lifespan left to do so, so driving for that level of perfection is totally impractical. That doesn’t mean I don’t like to give a good account of myself, we all do. As for “it's not a good idea to work on ballet without a ballet teacher's supervision”, to keep this into context, I probably get more supervision than most, but because I haven't had lots of years of training to fall back on, I have to pick this up by preparation, something that has given me a successful discriminator during my working career. So I will always utilise that strategy and make no apology for it. General: Even though there is no support on this forum for “Alredson’s Heel-drop Protocol”, I'm convinced if its done the way I now understand it, its perfectly safe. However there are a number of exercise related to Achille’s Tendonopathy and its easy to confuse them as they are closely related. After discussion with my physio this morning, we both agree that the procedure I originally used had been beneficial. However it was more demanding on my foot. The revised position is for heel drops only, the rise is achieved by the other foot. It is also though this is better done in trainers rather than bar feet or ballet slippers. The problem I experience over New Year was put down to my exercising very cold muscles with the more demanding procedure. The outcome of the visit today is that the Achilles' has heeled nicely, however there is some soreness on the bursar at the lower back of the heel, I am to subject that to Ice for 10 minutes, every two hours, or to Biofreeze when I'm out. I have a further check next Tuesday and will be returning to classes at LAB the following Thursday and resume ENB the week after. My physio is quite comfortable with that. At the moment all tape is off and I'm walking around in flat footed in my ballet slipper, but I still have a little bit of a limp.

Wow Lin it sounds as if you did all of the Entrance of Odette, if it included the mime scene, we did the mime last time but there was a couple of bits missing, I know that scene quite well. The pas de deux sounded quite fun, when I checked out the RB version it also seemed quite long, I wonder how much was cut down if any. Yes the Cygnet dance is quite fast, I have done that twice before, my favourites are the mime scene and Odette's solo from Act 2

Hi mimi66 I understand your comment about “go back to basics and correct their technique after injury”, I'm not sure how I going to come out of this as its early days yet. But I know when I walked down the street this afternoon, I was constantly shifting my weight (swaying ) from side to side, apart from the limp, I also found I was constantly looking at the ground which is so alien to me, I hate it. My turn out is a lot less, there is no knee or ankle turn out and I'm not talking about excessive forced turn out which is totally inappropriate. In any case I can never avoid doing basic’s even though now all my classes apart from ENB do support performances. General Number of rep when doing rises, I would do them in batches of 50 spaced out during the day to build up stamina and strength. The 200 was not a recommendation from anywhere just a figure that I knew was sustainable. Also from my martial arts training a few years back suggested strength building came from taking exercises (reps) into fatigue, not beyond to total exhaustion. The resistance band exercise again was done in batches of 50 but alternating each leg. There was no reason to space them out. I used them to fill slack time either waiting for ENB to open, I would go into Hyde park and knock 200 reps off on each foot, or where ever I was. From a professional protocol “Alfredsons Protocol” does in fact call for 180 reps per day per 7 days a week for 12 weeks. As the 90 is done with a strait leg and a bent leg too. PS I've dropped the jelly heel pads today, but couldn’t go as far as ballet slippers, maybe tomorrow after the physio.

Hi Mimi66 Best we make sure your post communicates to me with what you intended then. You mention Releve’s, this term differs between schools as you should know, for some (French school I think) it’s a smooth continuous rise on to pointe or deme-pointe and toes do not move from the spot that it began, for the decent the heels are lowered slowly, in other words a rise. I was always taught that a rise and a releve were quite different; this came mainly from my local teacher who is Cecchetti trained, but teaches a generic form of ballet. There a releve is a quick spring from a demi-plie on to pointe or demi-pointe, during the spring , the toes are brought directly under the centre line of the balance (eg sucked up into 5th). You also go on to mention “climb up rather than rise”, I would suggest that a climb up is in fact a slow rise that requires and good deal of sustained effort and strength, as opposed to a spring which has momentum. This is very evident when trying to do high leg extensions, one can usually kick a lot higher, than one can lift and hold it. I really don’t understand what context this relates too “this involves holding up your knees correctly, not sinking into your hip, not sitting your weight on to your metatarsal”, are we talking releve’s or single heel drops from 6th, as it makes no sense. Your final sentence to the same para seem to suggest something (possibly) releve’s cannot be taught from a book or video, I personally think a video can contribute tremendous value, certainly for consistency, but in any case you are fully are that I also have a large number of teachers too and corrections when appropriate, but its always good to get a “Nice one” remark after doing an enchainement in an Advanced/ Intermediate class only to find the same enchainement was used in a professional company class by the same teacher, for me that was a big WOW. As for demonstrating to my physio, I did do that originally but it was only for a single rep. I have since found the procedure I was using on a professional sports site, but only when the sports persons ankles had gained sufficient strength. As for demonstrating, tomorrow, is eezee peezee with the left foot, but I’m not too sure about the right, drops only, at best it’s a may be, as I was originally doing it, no chance, not even with pain which there would be lots. As for doing releve’s generally, these were closely scrutinised in our pointe strength building classes, so I really don’t think there is any mileage to be found there, also prior to all this most days I used to do 200 rep rises (Both feet) in batches of 50, also when waiting for class I would also do a similar number of reps for each leg with a resistance band, I snapped two bands that way. As for “This is why one should not practice ballet without a qualified teacher's supervision.”, you know I will never buy into that one, primarily I will learn repertoire first, then go though it with my rep coach on a one-to-one basis for correction. Performing repertoire from the classics is where my real love of dance lies. There is one solid fact in all this, even though my interpretation of Alfredson’s protocol was different, it was working very much in a positive way and improving my heel problems substantially. My belief it was the high demand option I chose in the presents of very cold muscles, with that combination I should have known better. I guess in that instance I was tired and just wanted to get to bed. Hi Lin How are you going to cope with three days of LAB Spring Intensive, remember last year I did 12 full days on the trot with ENB classes in the evening, two days off followed by another full week, you need some more Sheddies.

Hi Lin I swap emails with Rejane, I was surprised the list she gave me did not have Le Corsair on it, especially as she mentioned it to everyone at the previous master-class. This followed a conversation with her when I suggested as to how we could dance "The Harem Girls Dance" as duets from opposite corners (that's if our dancers aren't too uncomfortable with that), I think she liked the idea. In any case I will be doing this one privately with her as I am re-choreographing it for solo. I have already recut the music with a number of options while I'm indisposed. Do tell, how did both classes go, I was watching the clock and imagining what you were doing in class, I really really missed it, it was awful.

Hi Mimi66 I still have the taping on, although I don’t take pain killers, as I need to know when things start to improve. This morning (Saturday), things are still moving on, I went from the bedroom along the landing quite bleary eyed and then realised I was walking without the elevation of heel with my shoes and heel gel pad. It wasn’t totally without pain but it was another step forward. Hi Ellie/Sheila I have jelly heel pads/cushions in my day shoes and that helps enormously otherwise the circumference of the heel is very sore. Hi Dancer Sugar Plum As a result of the warnings of heel drops I thought it worth doing a little research only to find that I have not been doing them correctly against “Alfredson’s protocol”. I have the original extract given to me by my Physio, where it has both pictures and text. The text describes how the heel is lowered from demi-pointe until it parallel with the floor, the picture shows the heel lower, the toes of the foot (in trainers) on a ledge. The other foot from the knee is in the air at the back. The protocol does not explain how subsequent rises are done for that set of 15 reps. I have 6 manuals that deal with Anatomy and flexibility training, 5 are ballet related and most were bought from the ROH shop, the other stems from my days of martial art training, called “Ultimate Flexibility”. It seems there are lots of different but quite similar methods of strength building, but non that did exactly the same as I was doing. I then turn to the Internet, the documented description of “Alfredson’s Protocol”, was similar as was the pictures with the heel down below the horizontal, nothing new there. However I did find a Youtube Clip, in that the essential difference is, the exercise is done solely as a drop, the lift if you can call it that, is done by placing the other leg directly on demi-pointe on the ledge and lifting the other foot up totally unloaded. However I have seen another example but not described at “Alfredson’s Protocol”, that does use lift and lowers as a continuous process, but it uses both legs, thus halving the amount of weight on each leg. Mine included the lower and lift done by the exercising foot only, far more demanding. Even now with a method that was different to the one I should have been using. It was far more demanding but my body had become acclimatised to it, I don’t think it was that that hurt my ankle as such, but the fact that the more demanding lift that was required by such as cold muscle was the thing that injured it, that I should have known better, and only have myself to blame. I think by Monday the ballet slippers go on to get used to my feet fully flat on the floor and walking unaided other than tape if it manages to stay on that long. Then we will see what my Physio has to say on Tuesday. Even though the slippers are on I will not be dancing etc. As one of my teachers said "unfortunately this is part of a dancer's life"

Contingency: I have checked out, my sister has a couple of pares of Crutches, but I don't think I will need them, however I will take a couple of foldup walking sticks in my large handbag, just in case. The GP/A & E option remains under review, next Physio visit is Tuesday. PS Im already walking on two legs fully flat to the floor now. Have already dropped heel drops until I see my original Physio as I have some questions regarding these.

Hi Lin Had they not strapped it up and had any improvement, I would have been down A & E in the morning for some specialist attention, as I'm sorry I don't have a lot of faith in the GP other than to prescribe pain killers and say "go away and try them". YES MUM "I promise not to play with the toys in my ballet studio until I'm fully fit", He He he Are you in London on the 11th?

Update from visit to Physio I see a different physio this time as my physio was not available this week, but I have booked another session for next week. The Physio I see seemed to be well briefed, She did a thorough examination of the muscles in my legs and foot to establish the areas of sensitivity, her fingers and knuckles certainly were deeply penetrating as she said “does that hurt”, both Achilles were subjected to ultrasound massage while I was laid on my stomach. She said my soleus on the right leg was very tight, she asked me to flex my right foot as far as I could where it was still without discomfort. At that point she taped it from the bottom of my heel al the way through the Achilles to half way up my calf. Then she asked me to stand on the floor and try lowering my right foot fully flat on the floor, that I did, which was an improvement as I could not when I first arrived. She ask me to try and walk on it, I was able too, but there was still a degree of discomfort, at least I was sort off back on two legs but very stiff and slow, for me that was real progress. As I was leaving she showed me the correct way to use a walking stick and also adjusted the height for me, I felt such an idiot, needing training for something we take for granted. She also suggested when I get home to try some shoes with slightly higher heels as that should help with the immediate discomfort, that I did, and it does. After that I had stuffiest confidence to call at my local supermarket (Morrison’s) and do quite a large shop, just in case. I was at least mobile hanging on to the trolley even if my right leg was a little painful; at least I still had my independence. As a result of the above I will be going to London to see ENB perform Le Corsaire on the 11th as I believe my mobility can cope with that now, even if a little slowly. All ballet classes for next week remain cancelled, when I feel fit enough, I will only re-start my London classes (ENB and LAB), the others I will bring back on line within the next 2 to 3 month, to co-inside with the commencement of rehearsals. Rep workshops will remain under review with a high probability that I will attend them if physically possible.

Hi Anjuli Yes you have the heel drop method correct, and its 15 reps 3 times, I have been alternating each foot after 15, that is done twice a day. For the Left foot, I can do the 45 strait off, but am waning a bit towards the end, the right (Problem one), can just about manage 30 so that’s why I alternate after 15, plus to keep the strengths of each about even. And of course the heal drop exercise is a lot harder than rises. My local Supermarket does not deliver but we have a Tesco at Boston which does, I really don’t like to give up my independence but my option are running very thin, its all about my mobility tomorrow, I can only assess it a day at a time. Lin As for pain, yes there is residual pain where ever my foot is and extreme at the Achilles and lower heel if I try to put weight on it. The only way I can minimise it is to use it on a sort of demi point but I need to rotate the body a bit too. The foot is a little swollen too with a bit of a bump where the Achilles is attached which is extremely sensitive. In the meantime I’ve tried massaging it with various creams: Deep Heat, Ibuleve and Biofreeze, but basically nothing helps. After seeing my Physio tomorrow, I will most probably try and get to see my GP Friday morning , but I will need to queue for that. But personally I don’t have a lot of faith in GP’s Thank you everyone else for you kind wishes.

Latest Repertoire Workshop dates from City Academy: 4th Jan- Swan Lake 1st Feb- Giselle 29th March- Swan Lake 12th April- Don Quixote (TBC) 1st June- Paquita (TBC)

This Swan has certainly had her wings clipped. I’m sure many on this forum will say “I told you so”. I’m now very immobile as I cannot bare any weight on my right foot, so I have extreme difficulty walking let a lone dancing. So ballet for me for the immediate future has ceased totally. It’s also difficult for me to establish precisely what went wrong; The physio’s exercise therapy was working although painful as I had also reduced some of my classes too. During the Christmas break with no ballet, thing were improving significantly to the point I re-began my morning workout at home, I did these two mornings running and felt absolutely fantastic. Saturday I went to London to see Jewels at ROH, but had a lot of time on my hands so did a lot of walking down Oxford Street and Regent street, at the end of Saturday legs were fine. Sunday I spent the day with my sister, her house was very cold, as the outside door was open most of the time to let her dog go in and out , also I was wearing a rather thin skirt so my legs got very cold. As we were sat down most of the time my legs started to stiffen, particularly the right one. But I was still able to walk normally. When I got home I did the first set of 15 heel drop reps on each leg and it was hard going on the right one, so I stopped and shortly after went to bed. The following morning I couldn’t place any weight on the right foot at all, it was a huge task just to go from the bedroom to the loo. By contorting my body and placing my right foot on some sort of demi ponte I could at least shuffle along, eventually I got down the stairs. I also found an old walking stick which gave just a little bit more mobility. My hope at that time as I started moving, things would improve during the day. By night time they hadn’t and I was extremely down, I caught the end a couple of romantic films on TV, that made me feel worse as I have never felt so isolated, alone and useless. Even though I had a good cry I think there was always a bit of an optimist in there think may be I might be a better in the morning. Also I had a hair appointment at 9am that, how would I cope, I think that’s when I started to get my second wind. I decided if I got up early at 6am, I would have a hot batch to warm-up my legs, may be that might help. If I went to my hair stylist early I stood a chance of getting parked outside the shop, so I wouldn’t have fare to Shuffle. Tuesday morning (New Year’s eve) came, things were no better, but I think realisation kicked in, I had the early morning hot bath but it didn’t really seem to help, going earlier to my hair stylist did allow me to park close to the shop, it was still agony trying to shuffle there but at least I made it and got my hair done. When I got home it was clear there were things I needed to do for damage limitation. So I cancelled both of my rep workshops and hotel for that weekend (that was really hard), I then started informing some of my classes that it was unlike I would be present at the beginning of the term, and it really hurt me to send that message to LAB where I am extremely keen to start next week. Finally I contacted my Physio’s clinic, I now have an appointment for Thursday to see if they can sprinkle on so magic fairy dust to make it better, or what ever. At least the day ended a little happier than it started, I did manage to get to a New Years Eve Salsa party although I was sat down all the time, but at least I was with my friends. Again that venue had its own car park, so its only a short distance to shuffle as I really cant walk, and even that is difficult and painful, however I can drive without to much bother. I’m just waiting now to see what the Physio’s says and what my options are, then we can consider plan B. My next big challenge after seeing my Physio is to try and do some supermarket shopping, and that definitely wont be easy.

Dear Anjuli I will try to bring arms and the absolute finish of the plie together on count 8, even if to just to be different. As for the so called affectation in Grand Plie at the barre, I believe that is a mis-interpretation, firstly this movement is common in the majority of level 3 dancers in both ENB and Northern Ballet, furthermore it is clearly demonstrated in David Howards Ballet Class for Beginners DVD, I was simply drawing attention to the over simplistic nature of one of my teachers. If you were dancing solo there are two significant points, firstly the arm positions should follow what is intended in the choreography. However I would also make the point that the initial choreography is not cast in stone and is often tailored to a particular dancer. When I study repertoire of a classic for a particular scene I usually use video examples from around four different solo artist, its extremely common that similar movements are carried out on different legs, so movement are substituted others have minor changes, in some cases, even the tempo of the music changes, so I end up using sound tracks rather than music from CD compilations. I totally agree with the comment “The answer is not something easily conveyed in typed words - it is something felt. It is bonding with the music. Getting inside the music. If you feel it - that feeling will be conveyed. There is no - "then do this" - it's one of the mysteries of existence and the magic of the art form - any art form. Somehow what you feel will make itself felt to others.” As for “If you watch two ballerinas dancing Swan Lake and one captures your heart - why is that? They both did the exact same choreography. The reason one captures you could be you were more open that evening, but it could also mean that one gave you a vision of the music - for whatever reason.” I remember the first time I see an excellent example of that wasn’t so much to do with the music but with expression through body language. I received a YouTube clip from RAD for the “Dance of the knight” in Romeo and Juliet, it also included the entrance of Juliet. As the camera moved from the dancers during the dance of the knights, I was unsure of what the hidden steps contained, so I used a different video from a Romeo and Juliet DVD to fill the gap in the dance sequence, which it did. The differences in the body language of Juliet in her entrance was remarkable, in which one was artist good and the other outstanding, the character and the chemistry really captured your heart, I guess this is where the fusion of acting and dance come together in a very special way, it is much more than dance itself. Admittedly some variations do not tell a story its purely out the art of dance, and where that’s done well and the audience engaged through sheer confidence, eye contact and smiles and finished off with a curtsey that fully engages the audience and a tidy professional exit too. That is something I find missing in performances run by ballet schools, I know at dress rehearsals I will usually drop one in, I guess its expected of me and I usually on get the comment “Cheeky”, but for the performance itself then I have to follow what's planned by our teachers, that’s only right and proper. I guess I treat the curtsey to the audience just like reverence and apart from that, it feels far more professional. I think the curtsey its self is important as to how it engages with the audience, I like to open my arms starting with the left side of the audience and draw my right arm across head following, so as to cover the whole area before going fully down with arms in second, with head bowed. It may be technically wrong but it my style done with conviction.

Hi Terpsichore I would imagine it will be towards the end of January, for the moment I'm keeping my ballet down to approximately 3 hours a day to let my ankles recover, a I almost make that with ENB alone. Also If I can keep to the end of the month for that it falls in well with my Romeo and Juliet Repertoire Workshop on Sunday 23 Feb, leaving me free to be at class with Scottish Ballet on Monday night in Glasgow, then Northern Ballet Tuesday morning if the Logistics fall into place. As Northern Morning classes and ENB are no problem as I used to include DanceWorks as well, but then timing was a bit tight. I Will PM you when I know for definite as the Edinburg workshop is dependant upon RAD getting sufficient numbers. A Happy New Year to you too.

The only down side of ENB compared to Northern Ballet, ENB do not allow drop in dancers, you have to pay for the full term up front. ENB levels are somewhat similar to that of Northern, however I have no experience of level 4 with ENB yet. But I do intend to try their next taster class. I think level 4 only runs on a Monday which is out for me, as my existing Monday classes support shows, So I am fully committed to them. ENB Classes: Absolute Beginners If you are a complete beginner or have limited dance experience then this is the class for you. Absolute Beginners gives an introduction to ballet technique and is a great opportunity to meet like-minded people. Suitable for ages 18+ Level 1 If you are a confident beginner, or returning to your love of ballet and want reminding of the basics, then this class will provide you with a good grounding in technique, including positions, alignment and lines. No previous ballet experience is required. Suitable for ages 18+ Level 2 If you have a good knowledge of ballet technique and the basics, this is a progression class from Level 1. It is a faster paced class, and you’ll be challenged to learn more advanced turning and elevation combinations, as well as learning longer sequences of steps in the centre. Suitable for ages 18+ Level 3 If you have a strong base of ballet technique and want to be challenged by longer and more complicated sequences at the barre and centre, then Level 3 is the right class for you. The focus will be on gaining greater skill and confidence, performing more complex adage, pirouettes and elevation combinations. Suitable for ages 18+ Level 4 Level 4 is the most advanced class in the programme, designed to challenge experienced, confident dancers who are looking to further develop their technique and artistry. If you are a dance graduate, or in vocational training, and are looking for a non-syllabus, artistic class, then why not give it a try? Suitable for ages 18+ BalletFit BalletFit is a ballet-inspired pilates workout, which increases core-strength and flexibility. No experience necessary. Suitable for ages 18+