Do you have tips for prepping a pirouette with a straight back leg? I’m dancing a Balanchine ballet and I’m having trouble changing my technique. —Liza

I was in a similar situation when I joined the Balanchine-based Suzanne Farrell Ballet mid-career. I had trained preparing for pirouettes with both legs in plié, so it was hard to get the hang of the straight back leg at first. But over time, I adjusted and actually grew to prefer it!

What helped me was to think of shifting my body forward each time I prepared so that the majority of my weight was over my front foot, instead of underneath myself on two bent legs. The arms help, too: Instead of keeping them classically curved, extend them, as if reaching out. Overall, your body should feel much longer in this position.

The best way to get the feeling in your body is to do it—a lot. Try practicing tombé pas de bourrée to fourth position across the floor from the corner, feeling your momentum moving forward each time you land. Reach your front hand out as your back leg reaches behind you to create one long, continuous line. Notice how different it feels. Try the same thing from fifth position, taking a tendu to fourth in both en dedans and en dehors preparations. With enough repetition, your body will soon do it naturally.

Two of my colleagues don’t take responsibility for remembering choreography. It wastes everyone’s time, and I end up reteaching them during breaks. How can I confront them? —Michaela

Not everyone is a quick study, so first take a moment to assess why your colleagues aren’t picking up choreography. Are they chattering incessantly, spacing out, watching the clock? Or are they earnestly paying attention? If they truly seem to learn at a slower pace, take a more compassionate approach. Suggest that they keep a notebook to write things down after rehearsal—this will allow them to recall steps more easily and to study on their own time. You can also offer to help them for a few minutes at the end of the day. Or, you can recommend that they ask the ballet master for a copy of the video—again, so that they can study on their own.

If your colleagues lack discipline and focus, however, you shouldn’t have to cover for them. Politely tell them that you’re unable to give up your break and that they need to be responsible for themselves. Without their crutch (you), they’ll be forced to pay closer attention during rehearsals. If they don’t, your ballet master will surely notice and they’ll have to pay the consequences. Some people have to learn the hard way.

What exercises will keep my toes from knuckling under when I’m on pointe? —Shannon

Almost every ballerina has experienced knuckling—I certainly did as a young dancer. According to Dr. Frank Sinkoe, a podiatrist who works with students at the Atlanta Ballet Centre for Dance Education, knuckling is usually a sign of weak intrinsic muscles, located in the arch of the foot. But it’s also a sign that you’re approaching your technique incorrectly. While on pointe, you should feel the muscles in your feet and legs pulling up and out of the shoe, not sinking down into it. Ask your teacher to monitor your placement closely to identify any technical weaknesses and faulty alignment. In the meantime, Dr. Sinkoe recommends these three strengthening exercises, which target different muscle groups.

(Photo by Nathan Sayers)

Doming: This strengthens the intrinsic muscles. Sit on the ground with one foot flat on the floor. Slowly drag your toes back, keeping them straight and long (not curled!), creating a “dome” shape with your arch. Hold for several seconds and return to the starting position, keeping toes straight. Repeat 10 times on each foot.

(Photo by Nathan Sayers)

Thera-Band exercise: Sit on the ground and wrap a Thera-Band underneath the ball of your foot, holding the ends in your hands. Point the toes, keeping them straight instead of crunched. Maintaining a pointed position, flex and point the toes against the resistance of the band, keeping them as long as possible. Repeat 10 times. This will also help strengthen the intrinsic muscles.

One-footed relevés: Holding on to the barre, stand in parallel on one foot. Relevé, reaching full demi-pointe in two counts. Slowly roll down in four counts. Repeat 10 times on each leg. This will help strengthen your calf’s gastrocnemius and soleus muscles, as well as the “stirrup” muscles, which wrap around the ankle and support the arch.

Another reason dancers knuckle is to compensate for unsupportive or ill-fitting shoes. If you suspect your shoe may be the problem, make an appointment with a professional pointe shoe fitter to find a better option.

Have a question? Send it to Pointe editor and former dancer Amy Brandt at askamy@dancemedia.com.

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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Early in Carrie Imler's 22-year career with Pacific Northwest Ballet, she was excited to be cast in Balanchine's The Four Temperaments. But immediately following dress rehearsal, she was removed from her role in "Melancholic." "My artistic director at the time pulled me aside and said, 'We can't put you out there,' " she remembers. "My weight fluctuated my entire career. Just when I felt like I had figured it out, I would gain it back and have to start all over again." Despite becoming one of PNB's most celebrated principal dancers, Imler never shook the fear of what might happen when a leotard ballet was in the repertoire.

Ballet prides itself on high standards, and the classical ballet physique is not the least of those expectations. Fear of the "fat talk" still lurks in studios, but, as Imler points out, weight is a challenge that many dancers face, while others may struggle with the arches of their feet or turnout. If you are confronted about your weight, know that many talented dancers have been there. Having "the talk" doesn't mean you can't become a professional, but if you take a mindful approach to the conversation, it will show your maturity and ultimately your ability to navigate a career.

Has Something Changed?

If your teacher or director has approached you about your weight, you're likely left feeling emotional, vulnerable and overwhelmed. Once you have a chance to think clearly, ask yourself what factors, like puberty, may be contributing to changes in your body. Nadine Kaslow, resident psychologist at Atlanta Ballet, says, "There is this huge focus on weight and body at a time when even non-dancers are struggling with body issues and everything else that is happening as an adolescent."

External factors often play a role as well. PNB's consulting nutritionist, Peggy Swistak, says that she often sees dancers struggle with weight early in the season as they adjust to living on their own and sharing a kitchen with a roommate. "One may have really bad eating habits and doesn't have to watch her weight at all, and the other is gaining weight. There is a conflict in managing their food together," she says. Ballet Memphis ballet master Brian McSween adds that financial stress can create barriers for eating nutritiously. "The one-dollar piece of pizza costs a lot less than eating organic," he says. "You have to make the best choices possible with what you have." Other changes, like a new schedule, layoffs or even emotional setbacks, will present the need to reevaluate your food habits and exercise routines throughout your career.

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

Summer Study Advice
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Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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