A correctly rotated, aligned and stabilized arabesque can feel elusive. It's tricky to find the right balance between strength and flexibility, so we combined two of our best tips to help you find your line. Read on for training advice, and visualization exercises to get that leg soaring higher.

Back Strength and Stability

You’ve probably heard it time and again throughout your training: Flexibility isn’t all that helpful unless you have the strength to support it. Leigh Heflin Ponniah, MA, MSc, from the Harkness Center for Dance Injuries of New York University’s Langone Medical Center, offers this exercise to build lower-back strength to better support and hold arabesques. Try it two to three times a week as part of your warm-up before class, and you’ll be on your way to a stronger arabesque balance.

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You’ll need:

a physio ball

a clear space where the wall meets the floor

1. Position a physio ball under your hips. Lie facedown on top of it with your chest slightly curved over the ball and hands by the ears. Your feet should be against a wall, with the toes on the floor, heels on the wall and legs slightly bent.

2. Use your lower-back extensors, which allow backward bending of the spine, and your gluteus muscles to slowly lift your chest up and away from the ball. The body should pass through a straight diagonal before the chest continues lifting into a slight arch without crunching in the lower back. The core should also be engaged.

3. Curve back down over the ball and do 10 repetitions, increasing up to 20 as you gain strength.

If you don’t have access to a physio ball, you can also do the exercise lying on the floor. However, Heflin says the ball allows for an increased range of motion in the lower back and challenges dancers’ stability. —Madeline Schrock

 

What It Really Means to Stay Square

"Square your hips!" Susan Jaffe, dean of dance at University of North Carolina School of the Arts gives a fresh take on the classic correction.

Fresh Take: Jaffe says to think of a twisting energy in your rib cage to counteract your open hip, “like an internal ‘S.’ ” For example, if your left leg is in arabesque, you “square off” by feeling an opposite, twisting energy pulling up through the left side of your ribs. “Otherwise you’ll collapse the rib cage on the lifted hip,” Jaffe explains. “You need to lift out of that.”

The Real Issue: “Square off” can be misleading when it comes to arabesque or attitude. “If you’re lifting your leg in arabesque, your hip bones cannot be square because your knee and the top of your arch will face the floor,” says Jaffe. “They have to face the audience, and in order for that to happen, you have to lift your hip. What is square is the rib cage.” —Katie Rolnick

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Sisters Isabella Shaker and Alexandra Pullen. Photo Courtesy Alexandra Pullen.

This is the second in a series of articles this month about ballet siblings.

My mom was in the corps de ballet at American Ballet Theatre. A generation later, so was I. As if that's not enough for one family, my younger sister Isabella Shaker dreams of following in our dancing footsteps. Her endeavor, and her status as somewhat of a child prodigy, stirs feelings of pride and apprehension within me, since I have lived through the ups and downs of this intense yet rewarding career.

Ballet will always be my first love and the thing that brings me the most joy, and my dance career has opened endless opportunities for me. However, it's a difficult career path that requires a lifelong dedication. It's super competitive and can lead to body image issues, physical injury and stress. Most dancers will face some of these problems; I definitely dealt with all three.

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Photo by Gabriel Davalos, Courtesy Valdés

For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.

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It's National Bullying Prevention Month—and Houston Ballet breakout star Harper Watters is exactly the advocate young dancers facing bullying need. Watters is no novice when it comes to slaying on social media, but his Bullying Prevention Month collaboration with Teen Vogue and Instagram is him at his most raw, speaking about his own experiences with bullies, and how his love of dance helped him to overcome adversity. Watters even penned an incredible op-ed for Teen Vogue's website, where he talks candidly about growing up queer. Catch his amazing anti-bullying video here—and, as Watters says, "Stay fabulous, stay flawless, stay flexible, but most importantly, stay fearless."

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Alicia Alonso with Igor Youskevitch. Sedge Leblang, Courtesy Dance Magazine Archives.

Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"

At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.

Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.

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