Michelle_Richer

Hi Lin Yes I think you are right, I’ve just cancelled my Salsa for tonight and Saturday’s ballet is still under review. I must confess I did try a few steps in my studio this afternoon and the foot definitely doesn’t like to be stretched with full bodyweight on it for long, the discomfort now seem to be in the muscle is the lower leg. I guess 5 hours on a Tuesdays does give it a bit of a pounding, but it was OK Wednesday morning until after my body balance class and that’s fairly low impact stuff. Ah well more house work and looking at ballet training videos. I shall be down to sowing next, that's if I can still remember how to use the sowing machine.

Hi Lin If you get the opportunity to try them on first, then I would do so. I have had Capezio’s as hand-me downs when I first started and those were wide fitting. However I now use Bloch as I had the opportunity to try these first at the Lincolnshire Dance shop, and they come in several width fitting, mine is “C”, but these are the pink leather ballet slippers. Leg is a lot less painful today and I can almost fully straiten it, but it is still quite stiff, not sure if I will go to Salsa tonight or continue to rest it.

Hi Lin Now I’m on RAD's mailing list for Repertoire Workshops I will post them on this forum as I get to know. I’ve also just sent a follow-up email to Birmingham Royal Ballet as that’s something we talked about with them at the end of their insight day and I backed it up at the time with a formal email of the discussion. No ballet for me in the last two days, I’m thick with a heavy cold plus I seem to have hurt my knee, but not at ballet. It was OK yesterday morning when I did my body balance class, I think I twisted afterwards on some steps but not 100% sure, anyway I cant straiten it, and the knee cap is very sensitive and tender plus a sports support on it doesn’t help, I just hope its healed enough for Ballet on Saturday.

Hi Lin Its nothing to do with ENB, they are aiming for a maximum of 20-22 dancers, its at Cambridge, Ive already swapped a few emails with them. Here is the link http://www.rad.org.uk/article_pink.asp?id=119 see what you think, so they have 4 confirmed dancers including me, 6 that they are expecting to respond and whoever else is coming along. Its a pity I missed the Coppelia one, they have now added me to their mailing list for adult repertoire workshops.

Did Pineapple and ENB yesterday, managed to boro a spare studio for a bit of extra practice after class at Pineapple. I’ve managed to turn the 1 hour long journey to and from London into something useful. I have stacks of ballet training DVD’s that I never get chance to watch, with a small light DVD player in my travel bag, problem solved. My first assignment yesterday was to familiarise myself with the Romeo and Juliet by the Royal Ballet, this was in preparation for the RAD repertoire workshop on Romeo and Juliet. Watching the DVD, nothing stood out as being obviously suitable so I enlisted the help of two of my ENB teachers. Both seem to think a simplified version of “Dance of the Knights” is the most likely. RAD at this time are not giving anything away, other than it must be decided no later than two weeks before the workshop to allow the pianist time to rehears. So I guess its wait and see, but no good for dancer preparation.

I know this is slightly off the main theme. I came across that Squeaky floor at English National Ballet last night. As I was not sure if it was just me, I got my teacher to do a pirouette, as we don’t do them in that class. She got the same effect and gave a big ooooow and surprised look on her face, but didn’t offer an explanation. It must be the worst floor I have encountered with so much traction. It’s littered with lots of black skid marks that must say something. Another strange phenomena, my own dance surface, a vinyl by Harlequin dance floor, when it gets hot in the sunshine (as my studio is a large conservatory), it appears more shiny and definitely a lot more slippy, as it cools the slippyness diminishes.

Hi Lin Dance Direct XXL does exist but only in a few Plume leotards and then its only the black ones, these are the one’s I usually buy. It’s also worth giving these places a ring, that’s what I did with “Dancing in the street” and they were very helpful, however I don’t understand their sizing numbers, so I went to see them. I bought 2 that were equivalent to 16/18 and another that was too long when tried on so I went down to the equivalent of size 14 which seem to fit quite well.

Hi Spannerandpony I don’t know if this helps, but if you have the music track for timing or something a little faster, then you might get her to try the exercise in this video. Especially if she is spotting two or three points in this exercise, she will need to refocus. http://www.youtube.com/watch?feature=player_detailpage&v=_ahTicm9n2s

I have just drop an order for a couple of Revolution XL leo's, as they are on offer too. Their Plume XL's are just a bit small for my bust, so I hope these have got a little bit more room.

Hi Anjuli I read you post with interest, I wonder what you make of my observations, firstly with Pirouettes I favour the right as the standing or pivoting leg, the reason for that, it is the one with the best balance, however its also the weakest. Both with developpe and grand battement I don’t have the same strength for the extension in my right as I do in my left and my right tires more easily. However I do favour the left as the pivoting foot with Posé turns, I think that’s just down to that was the side I learnt first with a series of single turns across the room on the diagonal with an abrupt but correct stop on each turn, that position was also the preparation for the next turn. I think it because that was drilled into us and where we developed the muscle memory first before we were allowed to do a continuous series of turns.

Yes I'm all for measuring things to understand and enhance performance, thank you that's a brilliant idea Anjuli.

Lin: I can certainly identify with biorhythms or something similar affecting balance. I do two body balance classes a week, every week, which is a combination of Yoga, Pilates and Tai Chi, a lot of what we do is very relevant to ballet, especially balance. Some weeks I’m rock solid, others I’m all wobbles trying to get stability but it just eludes me. This to some degree is true of my teacher too. But there is nothing I can put my finger on. Picking up a point from a earlier post by Anjuli about the condition of the floor (Slippyness) . I guess I almost subconsciously calibrate the effect of the floors mostly as I walk into a studio, I step into a single turn en dedans pirouette with minimal effort. Surfaces are widely different. Lincoln, Wisbech and my own studio is similar, I suspect we have the same Harlequin vinyl surface, Kings Lynn and Peterborough are quite slippy, Stamford is a wooden ballroom floor (looks as if its polished) is extremely slippy, Whilst ENB has a very noisy floor that is not particularly slippy and also has lots of black skid marks which I guess is caused by excess friction. I think stepping into pirouettes is almost habit forming, I’ve tried in bare feet in the gym for my body balance class, there is just too much friction and it just not going to go. I’ve also gone through many pair of regular tights doing the same this on my lounge carpet as its relatively slippy. particularly if music is playing, the kitchen floor vinyl tiles are brilliant for slippyness. However I did nearly did have a nasty accident, I was down my brother-in -laws and we were talking about ballet, he mentioned something that sounded like pirouettes, so I said you mean “pirouettes”, slipped my shoes off and proceeded to do one. The carpet was nothing like mine, the friction was enormous, my standing leg on releve was not going to turn and the pain hit me in the knee as it twisted, it did turn but not as anticipated. That was a painful lesson learnt about surface calibration.

Lin: OK about the gardening, I absolutely love being outside in the sun shine, I have about a half acre of grounds with 400ft of river frontage, and it does need a lot of upkeep though, but that keeps me fit and young. I think great minds think alike with your comment of private lessons. I’ve been having them for a while with my Angles Theatre teacher prior to our class. That way I have control over the subject matter and that works well for me. Went to my Kings Lynn class tonight, the other two girls were there this week, one said she only came this week as she knew it was my week, so I ask them to inform our school when they couldn’t make it. I also ask my teacher that when the other girls were absent, could we switch to repertoire work for me, and then I told her what I initially required, the lady said YES, that’s absolutely brilliant. That really put a spring in my step. A ballet free day tomorrow (Friday), then Elite Academy of Dance at Grantham on Saturday to look forward too. Fiz: Oh you poor thing, I hope you soon recover and get dancing again, we all need our ballet fix.

All this talk about going on pointe, I must dust my pointe shoes out and get some tuition and practice before Chelsea Ballet Summer School. We did our rehearsal last night and for once everyone was there, the sequence still needs a lot of polishing by everyone including me. I tend to dance ahead of the music as for a good deal of the sequence I’m in front and can’t see the rest of the dancers. On one part I can see the girl behind me in my peripheral vision as I think she is following me, but when I do a turn I have to be careful as I’m generally ahead of the rest and have to slow down to compensate. I tend to dance to the melody rather than counting every beet out. Also the music does change tempo half way through to complicate things a bit. I checked our dress rehearsal day with my teacher, there is a two hour and fifteen minute window for me go from the Angles Theatre to Cambridge for the Romeo and Juliet repertoire workshop, I have emailed RAD for details as it looks as if I will be sweeeezing this one in now. Tuesday was good at London again; Pineapple had some really good dancers in the class, in particular a young Chinese or Thai lady, beautiful turnout, extremely flexible, rock stable and wonderful hyper extension of her leg. I was so envious, thinking if only. ENB was fun again; I like the class and the teacher. When I first met my teacher I made it clear I was positively seeking feedback, needless to say I now get it. She made me smile this week as she insist the class uses third position of the feet and I find that difficult not to slip into fifth. However this week I got into trouble as my third was turned out too far. Now I’m in the system I need to get on the next two levels in parallel for next term. Today (Thursday) no morning ballet class as the hall is being used for elections. It was a wonderfully warm day in the garden, despite two broken nails and lots of scratches on the arm from severely pruning my conifers, which have got out of hand, I still enjoyed the break. Ballet at Kings Lynn tonight though.

Fiz: For Chelsea Ballet Summer School programme follow the Link http://www.chelsea-ballet.com/summerschool/ Lin: I already have Bloch Serenade pointe shoes, etc. Two of my teacher are quite keen to teach me, I guess with private lessons, but thats no problem for me. One of them I no longer see from my Lincoln class which is now closed but we exchanged emails again today and we keep in contact, the other is my teacher from the Angles Theatre and I already have private sessions with her on subjects of my choice.

Drdance, I like your comment about “These days women are flat chested”, well this gal certainly isnt, not too sure what that says about symetry and blalance, but hey, the body positioning has the ability to compensate. This is an extract from the Finish Jhung Manual that supports his DVD “The Art of Teaching 2, Turns, Exercise 5. I have excluded the movements beyond point 8 as not being really relevant to our discussion. To Begin Face the mirror in 5 position with your left foot front and your arms en bas. Musical Introduction Over Counts 1 and 2 remain still. On Count 3 “Breath” with your arms. On Count 4 bring your arms to en bas. The First Set of 8 Counts: On Count 1 Demi Plie and make a pas de cheval with the L foot. Step forward on your L foot and stand with the R foot pointe tendu back. Raise R arm to fifth, open your left arm to second. Grip the floor with your L toes so that you pull your hips forward as you stretch up strongly. Twist your spine to the L so your L arm points to corner 6. Your L hand is slightly behind your L shoulder On Count 2, remain on straight legs in the tendu position, keep the L arm in second, lower the R arm and stretch it forward in the arabesque position. Stretch the L shoulder and arm farther back as you stretch the R arm forward. On Count 3, grip the floor with your L foot. Pull your body down so your L knee bends over your toes, lower your R heel with the R knee straight. Keep arms in position. Resist the Plie, stretch up the back of your neck Keep both hips up and forward; use the muscles in and around your pelvis. On Count 4, with your weight on your L foot, turn the Plie so your hips face corner 2. Your R foot will be in pointe tendu. Keep your head over your L shoulder. Your L arm points to corner 8. Your R arm points to corner 4. This is “The End of the Plie” On Count 5, continue the promenade en dehors, push down so your L knee straightens. Place your R foot in retire devant (in front of your knee). Carefully bring arms to first position. Stretch your L shoulder over your toes Keep your L hip pushed forward over the ball of the L foot so that you are able to move the heel. On Count 6, continue the promenade so you face the mirror. Keep your ears up and back on your shoulders On Count 7, continue the promenade to corner 2 and then demi-plié on your L leg, stretching your R leg back in fourth position. Place the R foot flat on the floor. Stretch your arms to third arabesque (R arm forward, L arm second). Reach for corner 8 with your L shoulder and arm Reach for corner 2 with your R shoulder and arm On Count 8, Stretch your body line Although the example video below is not the exercise that the text refers to it is a good illustration. http://www.youtube.com/watch?v=e2-qRFM_g_I

Hi Lin: No it doesn’t happen quite that rapidly, you don’t need huge amounts of energy. At the commencement when you drop into a plié, but you are standing on the balls of you feet, as you first rotate your body, both heels are free to rotate clockwise, this last for about the first quarter of a turn then there is the push-off of the back leg into retire whilst the front supporting leg goes to high relevé. Then when you come down you quickly Pas the non-standing leg to the back, drop the standing leg and land in a long 4th with the arms out stretched like a second arabesque (nicely).

Hi Lin The LAB course is for a whole week with our performance on the Friday night. As for Chelsea Ballet Summer School Im doing the Pilates, Level 1 and Level 2 every day and the first day of the Beginners Pointe class. I had a word with Louise as I didn’t intend to start pointe work this year, but I was very curious so she recommended I do the first class with an option to do the rest of the beginners pointe if I feel up to it. So that’s how we have left it. I will leave the fourth floor at Pineapple at 3pm as that’s where Chelsea are situated and do the 3 pm Pineapple Ballet class in studio 11, If they are not on break I will also include my ROH classes and ENB too.

My own take on this is slightly different, in the preparation like in your example my right arm becomes straight following a Rond de jambe of the right leg to the back, this creates a longer line, it’s not until rotation commences that the right arm begins to curve. The other point that’s not mentioned, unless I missed it, its starts with a plié. At least the first quarter turn the plié appears to rotate as both feet go onto demi-pointe, and their heels swivel pass each other before getting to the push-off point which significantly adds momentum to that turn. The reason I raise this, when I first started trying to do these turns, mostly from a DVD but with some help from my teacher, as this was not part of our normal class at that time. I was reasonably successfully doing single turns with the Left standing foot, but it was starting to get a little tired, so I decided to swap feet as I probably should have done earlier. On my first attempt I did one and half turns, so I set a three quarter point as my next target, and did it easily. I just could not believe it, so I decided to try a double, Bingo this seemed easy peasy, I tried it another couple of time and it was no problem, then I had to pack-up my practice. By this time I was really on a high. I can remember if it was the following day or the day after, after class I wanted to show my teacher my doubles, I was so proud. They were a disastrous I couldn’t even do a single en dehor properly, I was trying harder and harder until eventually I completely lost my balance and went over. My teacher nearly had heart failure as she was on crutches after pulling ligaments in her leg. Fortunately from my Ta Kwon Do days I know how to fall without even sustaining a burse. Later when I got home, mystified why my pirouettes were so different, then I spotted it, I had not allowed the plié to rotate. That restored my singles which now are virtually effortless, but for some reason the doubles elude me and that is extremely frustrating after once being able to do them. I am not sure if that’s loss of confidence due to that fall, I don’t think it is but who knows. But something is definitely different. My Pirouette en dedans are also effortless but are also stuck at singles. I guess its practice practice practice. So I guess “Pirouettes are Psychological”

Hi Lin Just go to the top of the forum "Doing Dance", on the right hand side you will see a black button "Start New Topic", If you havnt started it by this evening, I will start it to get it going.

Love the idea of a new thread specifically on Pirouette's, it will be conspicuous for others to see and contribute. If its not started by this evening I will be happy to start it, and get some of Anjuli,s wonderful and detailed advice. But must shoot off now to my Awesome abs class (Sunday Morning).

Here are your Scottish Ballet Videos Core de Ballet http://vimeo.com/44250588 Port de Bras http://vimeo.com/50287636 New Year New You (Barre work) http://vimeo.com/56758105

Wow, you was up bright an early. OK that figures, but where are they going to get all the guy's from. When we did Swan lake there was 2 Guys and 20 Girls, that seem to be common in all form of dance, even my Salsa suffers from that to a lesser extent.

2dancersmum: What does "PDD" mean in “June 30th - Cambridge - 2 hour PDD workshop on Romeo & Juliet - adults £30”, I know I shouldn’t be looking at doing this one, but just maybe, I can squeeeze it in. Lin: OK about meeting me at Franziskas Pirouette Workshop, you will also see me at the Chelsea Ballet summer school and I think I will also do Franziskas September Workshop too. If you are looking for long Leotards, I went to “Dancing in the Street” today and tried a few on. They have one called “KIKI”, it was too long for me in the equivalent of a size 18 for my bust, in the end I went down to there size 5 which is equivalent to a 14, that fits OK, the one I bought is white and thin straps with high back. I also bought two other white ones with thicker straps, one in cotton, the other in lycra (maryrose and rosemary), they we OK with their size 7. Don’t forget there are two options for “Swan Lake”, both LAB and City Academy are doing them, and both are based on Act 2. Im doing both.

Lin: I don’t think I would feel comfortable in the briefest of bikini on the beech, but when friends are over and we are in my hot-tub then I have no problem in a bikini of any type. I guess my romance with dance is relatively new, which all came about after my partner died in 2005 and suddenly life was very different. I admit apart from work I did not know how to socialise; it was a freighting new world that I had never experienced before. Little by little I found my confidence and with the help of one of the girls at work, I joined a fitness class and eventually a salsa dance class. Once I started dancing salsa my confidence and social life grew dramatically. I also became more daring in the things I would wear at Salsa dances especially as they have a real party atmosphere. The dresses are definitely not the sort of things you would be seen in the supermarket with Ha ha. About a year ago I finished work, mainly to spend quality time with my little dog Chino (see my posting on Dog Show news) for what little bit of time we had left together. While we were out one day in May, we came across a notice on our village hall door “Adult Ballet class ring Nicky”, and the rest is history. The ballet bug dug very quickly and very deep, I’m now up to 10 ballet sessions a week and 4 related fitness classes plus various workshops and summer schools. Oh and I still dance and sometimes teach Salsa and the other dances that go along with salsa.