Tutu Much Trouble - Preventing and Dealing With Stage Accidents

From tutus that tear to hairclips that won’t stay put, a strap that breaks or shoes that slip off, there is no limit to what can go wrong on stage. But before you panic (and develop stage terror), check out these common stage mishaps and learn how to handle them. Remember, an ounce of prevention is worth two pounds of melting makeup.


Costume Malfunctions
Tutus can fall down, skirts can come undone, and leotard straps love to snap at the worst times. But the easiest way to deal with these situations is to anticipate them right from the start. Use dress rehearsal to address costume worries, as you then have test and fix anything that may malfunction during a performance.

Tutu Trouble

Make sure your tutu hooks are all done up, and consider having a teacher, stagehand or dance partner put a few loose basting stitches at the top of your bodice. This will help keep it together, even if the hooks fall apart.

Also, put stitches in any knots tied on your costume, particularly with wrap skirts and corset style bodices. Prevent any slips by stitching adjustable straps in place and tightening stationary ones by cutting and re-sewing them the day before. If you still doubt the integrity of your neckline, wear a skin toned bra or leotard underneath your costume; it will protect your decency in case anything goes wrong (or falls off!)

Slinking Skirts

If you’ve prepared properly, no costume malfunctions should happen. But if they do—a strap snaps, a tutu slides off, or a bodice falls loose—just keep dancing. It isn’t easy, but it is important to keep your hands away from your person during a performance. Otherwise, the audience will be distracted by movements unrelated to the dance itself and wonder why that girl on the left keeps squirming like an antsy child.

If you can find an opportunity where your port de bras brushes your bra strap, adjust it subtly, but otherwise keep arms where they’re supposed to be.

Shoe Shakeups

Pointe shoes and slippers can both misbehave, but you can help prevent them from running away without your foot by using these tips.

Use Rosin

Rosin—dried tree sap that makes shoe soles sticky and slip proof—is important to have with you at all times, no matter what kind of shoes you’re wearing. Most theatres will provide a tray in the wings, but bring a small bottle of your own just in case.

On the other hand, you don’t want to overdo the rosin either. Start by using less than you think is required and add in small increments as needed. Figure out the amount that works best for you during dress rehearsal, so that you can get it done quickly by show time (and without mistakes.)

Pointe Shoe Panic

Sew ribbons into place before the show, slipping your needle straight through the knot before stitching it together. This will prevent even the tightest knots from coming undone, which might cause you to trip over your ribbons.

Make sure to break in new shoes and snip the satin off of the tips before dress rehearsal. Slippery platforms or unbending shanks can cause you to float all the way across the stage—but not in the good way.

Slipper Scares

Make sure elastics are triple stitched to the sides of your shoes and that drawstrings are trimmed and tucked neatly under the top. You may even want to put a couple loose stitches over the drawstring to hold it in place inside your shoe, but if you do, just make sure to use a small needle and slipper colored thread.

Makeup Mistakes

With false lashes, greasepaint thick foundation, and eyebrows penciled like something out of a horror movie, makeup can wreak all sorts of havoc: Lashes can fall off, foundation can drip, and eyebrows can smear. Plus there’s the discomfort one feels wearing two pounds of goo on their face as they leap across the stage.

Make it Last

Make sure your makeup stays put by applying a few spritzes of finishing spray. It may feel a bit sticky, but it will prevent sweat from taking your makeup off and falling into your eyes.

Also, use stage-specific makeup products which are designed to hold up under stage lights and sweat; department and drug store brands may look prettier, but most aren’t designed for the wear-and-tear of the stage and may smear all over your face.

Lose Loopy Lashes

False lashes should be applied with a thin strip of glue, from the beginning of the lash-band to the end. But even with the right amount of adhesive, they can still come loose while dancing.

If this happens, use your time in the wings to simply take them off. It’s better to dance with slightly less enormous lashes than to have your vision obscured during the next manège.

Adjust the Smudge

Stage makeup is want to migrate on your face as you sweat, no matter how much finishing spray or setting powder you use.

To cure the problem of dripping eyebrows or liner on your cheeks, keep a box of Q-tips and tissues backstage. In between phrases, gently pat your face with a tissue and run a Q-tip around the major/bold lines of your face, such as your liner, eyebrows, and mouth. This will get rid of makeup that bleeds outside its area and help you stay cool and dry.

Roll with the Pirouettes!

With the right amount of preparation and attention to detail, you’ll be sure to limit the amount of accidents on stage. But if something does still go wrong, don’t panic! Instead, go along with it and stay focused on the dancing.

Lights may explode, the music may stop, but so long as you keep dancing, the audience will keep watching!

Paso Doble: The Most Dramatic Ballroom Dance or Ice Dance

It is full of energy, strict and powerful. With his haughty, bold pride the dancer expresses his superiority like a Torero. He convincingly transfers this solemn appeal to the audience. The woman, on the other hand, generates a self-confident distance to him, without surrendering to the power of the master. She is the literal image of the “Capa”; the red cloth that the Torero uses to keep the bull under control, and is, like this, lithe, agile and elegant. Whether in professional dance or Ice Dance, the Paso Doble is one of the most dramatic, precise dances.

The Paso Doble is a Spanish pair dance, but assigned to the Latin and North American dances. The Paso Doble is the most secretive of competition dances. There is hardly anything written about it. In competitions it is only rarely danced and of its origin we can only make assumptions. But one thing is certain; it is characterized by easy, marching-like steps. Its origin supposedly dates back to a French military march with the name ”Paso Redoble“. This is a march with 2/4 beat with about 130 steps per minute. However, at this pace walking is hardly possible; it is more like running. That’s why the Paso Doble is the fastest Latin American dance. Every second step is emphasized and that’s probably also where its name comes from, meaning “double step” in English.

In Spain the dance is also known by the name ”El Soleo“; it was played during the Torero’s arrival in the bullring. This ritual was known already in the 18th century. Not far away from Spain, in Southern France, this practice was interpreted dance-wise and music-wise around 1910 by French competition dancers and dance instructors from the One Step. It is thanks to this French development that the Spanish dance has mostly French figure descriptions. Today it is danced as Two Step, mostly in 2/4 or 2/6 beat. But it wasn’t until the 1920s that a choreographed bull fight pantomime appeared. Here, the Paso Doble was the bull fight performed as a dance. The man played the Torero, the woman the read cloth, the “Capa, “or the “Muleta“– and not the bull. This way of dancing was a novelty at that time.

Because of its arrogant pride and its bold decisiveness, all characteristics of a Torero, the dance expressed the main features of the “master“. That’s why the Paso Doble is also called “the dance of the master“. The tenseness of his body can be felt by the audience and is decisive for its aesthetic appeal. The woman on the other hand, behaves toward him with a kind of self-confident distance, being lithe, agile and elegant at the same time. But also the lady takes on a dominant role in some figures, much like in the Flamenco. This dance, as well as the Spanish Fandango, greatly influenced the Paso Doble. This can be recognized in the mirror image way of dancing, so typical for the Flamenco. The Paso Doble has adopted some elements of the Flamenco in figures and steps. It is therefore sometimes described as a Flamenco-like march. The Paso Doble can be found in this stylized form in Latin America as well, where it also adopted the character of a folk dance.

In Central Europe, it lost its significance. It has been a competition dance since 1945 and is being taught in dance schools, but it is seldom seen in public. Only a few music groups include the Paso Doble in their repertoire. Its music is clearly structured, full of energy, powerful and seems very strict – thereby not very joyful. The preferred piece of music is Maria Andergast’s “The Master Torero”. The best known Paso Double piece of music, the “Espana Cani“ by Pascual Marquina, was written in the twenties.

The Paso Doble seems to be reserved for professional dancers only. In competitions, the Paso Doble is only danced by these dancers. It is the only competition dance acting out a story and the only Spanish dance included in the worldwide competition dance program. In Ice Dance, the Paso has been mainly used in compulsory dances or original set pattern.

Paso is always about the story of the matador fighting with the bull, it is about the gambling of life. Simply speaking, Paso is about bringing the bull- fighting scene on stage through partner dancing.Paso Doble paints a comprehensive picture of Spain; it enlivens a bull-fighting scene through the dancing. To dance the Paso, the dancers have to make it more Paso, i.e. the dancers have to present the different characters in the bull fighting arena and to make them more realistic to the audiences’ imagination through skillful dancing. There is absolutely no such  flavor in other Latin American dances. This is what makes the Paso Doble unique.

The Latin American dances all present the lady. Interestingly, the Paso Doble is the only dance that presents the man with much masculinity. In terms of visual image, the man is always proud of himself. In terms of the dancing, when the man raises his arm, the lady will response by approaching the man. When the man closes the hand-hold, the couple will dance together as in Surplasses (side walking steps). In other words, the man will lead the lady every step by step. The man plays an absolutely dominant role in leading in the Paso Doble.

In Spanish, "Paso Doble" means "two step" and refers to the marching nature of the steps. The dance consists of several dramatic poses that are coordianted with highlights in the music. The body is held upright with the feet always directly underneath the body. The basic "Chasse Cape"(chasing the cape) is the style most used.

1. The dancers step forward on beats one and two.
2. At beat three, the lead dips his right shoulder, as if lowering a cape before a bull.
3. This motion is carried into a step back on beat four and a 180-degree turn on beats five and six, so that now the lead is moving backwards and the follow is traveling "outside" (i.e., her feet are positioned to the side of the man's).
4. During the first four beats of the next measure, the man again dips his shoulder, moving the "cape" again until both dancers are again facing forward in promenade position.
5. Beat five contains a small "leap" performed by both dancers, with a flick of the foot up behind them.
6. Steps six through eight are spent collecting the feet together so that the dancers are facing each other as if beginning the basic position.

The cape, whether a real prop is used or the shaping of the "lady" also helps to cast a masculine image of the matador because the cape is always heavy to manipulate. Whether dancing it or not, The Paso Doble is always a dance with great artistic value for appreciation.

Although I'm referring to the Paso Doble dance, it's worth mentioning that in the world of Ice Dance, Jayne Torvill and Christopher Dean were masters of bringing dance to ice. Their OD Paso Doble from 1984 is worth any dancer's time to study for the precise choreography, posture, and attitude that the Paso requires. Below is a video of their performance, a precisely edited arrangement of Capriccio Espagnol by Rimsky Korsakov. In the OD at that time, a set pattern had to be repeated, thus the repetition of steps.

This video of a professional Paso Doble is a good dance interpretation

Benefits of Performing Arts for Children

Performing arts is a profound and important part of any child’s education, and the skills learned and experience gained in taking drama classes, having singing lessons and/or joining a dance school or glee club will affect and improve many of your child’s abilities in many areas of their life. Here are some of the many benefits:

• Developing creativity. Imaginative play stimulates and challenges the brain, and allows kids to be innovative and broad-minded
• Developing confidence. Strategies to help you get up in front of an audience and present an idea are extraordinarily valuable and very little appreciated in many areas of adult life, personally and professionally. Learning how as a child is a wonderful asset to have.
• Promoting self-discipline and self-motivation. Because all performing arts are physical and individual like doing sports or athletics, achievements are also gained from including practice at home and scheduling personal training,
• Exposed to art and culture. The impact of a sophisticated cultural and artistic education is life-long, and adds enjoyment, depth and meaning to both personal lives and professional work as adults. Not everyone is lucky enough to have the opportunity.
• Overcoming anxieties. The triumph of going out of stage, performing a rehearsed piece successfully, and receiving feedback afterwards is one of the profound and tangible reassurances of worth and achievement you will ever get. It gives kids a sense of control and power equivalent to winning scholastic prizes or sports championships, and will encourage aiming higher, overcoming more obstacles and achieving greater goals in future endeavours.
• Learning memorizing skills. Working on your ability to absorb and retain information is something many successful entrepreneurs recommend for the success of professional adults, and is important and fun to develop through performing arts.
• Improving language and musical skills. Like an exposure to culture and art, developing language and musical skills offer a significant advantage for any student, and make for a richer, more liberal-minded adulthood.
• Problem-solving. Dealing with unexpected situations and working through to viable solutions is a wonderful and perhaps surprising skill gained from performing arts classes, where creative challenges are set, self-generated work is encouraged, or problems encountered on stage are overcome if things go wrong or are forgotten.
• Social interaction and cooperation. Performing arts classes promote working as a team while also encouraging and developing individual talent: the best possible combination.

Are You Ready for Pointe Work? Some Guidelines

Pointe shoes have been the symbol for ballerinas since the early 19th century. Every aspiring ballerina works toward being ready for pointe. But, before you do, there are some requirements that must be met first.

Since beginning pointe work before bone ossification can pose serious injury risks, including frequent fractures and bone deformations in the long run, it is usually recommended to wait till age 12 in most cases to ensure proper bone health. When in doubt, a visit to a medical doctor can help clarify the growth process, and how far along a dancer is in bone ossification.

Ankle Flexibility

It may seem obvious that pointe work demands strong, supple feet and ankles, but the level of strength and flexibility required is often underestimated. Simply standing in the en pointe position requires an amount of flexibility in ankle and instep that, if not reached, will not allow the dancer to stand on the correct part of the shoe.A dancer must be able to maintain a high three-fourths pointe position before starting pointe, so as not to “sink” in her shoes, relying on the soles to stay up (a practice that often leads to falls and injuries). Additionally, lateral flexibility in the ankle is vital so as to avoid sickling (pushing the weight to the little toe) en pointe.

If a student sickles in soft shoes, she will most likely sickle, or turn the big toe inward, en pointe, which causes both immediate injuries to the ankle as well as long term tearing in tendons and muscles. Any mistake that is apparent in soft shoes will be multiplied en pointe.

Stable Turnout

Before starting pointe, a dancer should be able to maintain her turnout at all times when dancing. Turning out properly en pointe is more difficult due to the smaller balancing area and lack of friction, so if the student does not have strong, stable turnout, it is likely that she will be unable to have good turnout en pointe. This can lead to difficulty balancing and performing exercises. Also, the muscles that support proper turnout assist in stabilizing the dancer en pointe. If a dancer has not strengthened those muscles, she will find pointe work difficult and unstable.

Straight, Strong Knees

Similar to turning out properly in soft shoes, being able to maintain straight knees is fundamental in achieving readiness for pointe. Having bent knees en pointe (outside of toe hops) will cause the dancer to fall, feel unstable, and risk constant injury. A dancer should be able to stand three-fourths pointe with straight, strong knees before starting pointe work. This will also develop the muscles in the legs, making for a stronger lower body, which will then make pointe work easier as a whole.

A Strong Center

Although the brunt impact of pointe work is on the ankles and feet, what happens above them can make all the difference in the world. Having a strong, stable core will take enormous amounts of stress off the ankles, making pointe work both easier and safer. A dancer must be able to lift out of the hips and keep an aligned spine. If a dancer is not able to hold her center strongly, then going en pointe will cause her to have difficulty finding her balance. This can also lead to a greater risk of stress fractures in the feet and ankles from overwhelming them.

Time Commitment

Beginning pointe work requires a constant, watchful eye by the instructor. Bad and injurious habits can develop easily in the early phases,so it is imperative that a student committing to pointe work attends at least three classes per week.
This not only tells the instructor that the student is committed to working safely and consistently, but also shows that the student has achieved a suitable level of fitness and strength by working on a consistent basis.

A Healthy Physique

Pointe work places an enormous amount of stress on the body as a whole, so it is vital that a student beginning pointe is in healthy shape. She should be free of major injuries and have the stamina to make it through a 90-minute class. The student should also free of major health problems that would interfere with both pointe and ballet practice as a whole. If a student has a condition that may be of concern, it should be discussed between her and the instructor before starting pointe work to ensure her safety.

Going en pointe is a major step in ballet. Whether you have already gotten there, you’re a concerned parent, or you’re looking to get those first pointe shoes soon, remember that hard work and focus are what will get you there. Continuing to strengthen and build your technique will improve your skills, and perseverance will get you to reach your full potential.

The Connection Bewteen Easter and Passover

I came across this article written by my Twitter friend, Nina Amir entitled 3 Things that Easter and Passover have in Common and thought I'd post it since it was written a good while back.

Despite the fact that Easter and Passover are celebrated within days or weeks of each other, most Jews and Christians don't realize the link between their respective spring holiday observances. The reason for this lies simply in the fact that many Jews and Christians alike know little of the origins of the other faith's holidays, rituals or beliefs.

Although Christianity arose our of Judaism, many Christians do not recognize this. Christians do not talk about Jesus as a Jew, and, for the most part, Jews don't acknowledge Jesus at all, even though he was a great rebbe, or Jewish teacher. The celebration of Easter and Passover, however, provide a wonderful opportunity each year to acknowledge the connection between these two religions and these two holidays.

In fact, Easter and Passover share at least three common elements. First, many religious scholars have said that Jesus' Last Supper was a Passover seder. A seder is a service or ritual meal that commemorates the Biblical accounting of the Jews escape from Egyptian slavery. As a Jew, Jesus was obligated to participate in a seder, and during Biblical times many Jews traveled to Jerusalem to do so.

Many Christian churches have instituted a seder before Easter Sunday as part of their Easter celebrations. This observance is called Maundy Thursday, Holy Thursday or Great Thursday. Those Christians who believe Passover was the last supper site Luke 22:15, in which Jesus says, "With fervent desire I have desired to eat this Passover with you before I suffer." Mark 14:12 echoes this with the comment, "And on the first day of the Unleavened Bread, when the Passover [lamb] was being sacrificed, his disciples said to him [Jesus], ‘Where do you want us to go and prepare for you to eat the Passover?'"

Second, just as Jesus' crucifixion and resurrection led to the start of Christianity, the Israelite's liberation from Egypt led to the beginning of Judaism. It wasn't until the Jews had crossed the Red Sea that they became a nation unto themselves. This freedom and nationhood led them to enter into the covenant with God at Mt. Sinai, which marked the beginning of Judaism. Prior to Jesus' crucifixion and resurrection, he was a Jew and his followers were Jews. Upon his death, his teachings became the basis for Christianity. His resurrection and ascension, as well as the miracles he performed during his lifetime, caused him to be named posthumously as the ‘Christ.' Thus, Christianity was born.

Third, both Easter and Passover revolve around the idea of rebirth. Jesus is resurrected, or born again, and the slaves are reborn into freedom. Both holidays draw in the idea of birth or rebirth with Easter eggs and the hard-boiled eggs served on Passover.

With Judaism as the foundation for Christianity, it behooves both Jews and Christians to study each other's religious beliefs and to become familiar with their historical foundations. In this way, we can better understand each other, our selves and our different religious observances and rituals. If more people would do this – not just Jews and Christians but people of all religions – we might not only appreciate each other more but we might create more peace and love in the world.

Keeping Your Creative Juices Flowing

Being creative is an ongoing process. You need to engage with your talents intentionally for them to strengthen and develop. You need to behave like a creative person. Here are a few ideas.

1. Keep a record of your ideas. We hold about seven chunks of information at any one time (hence the size of phone numbers). Although you may hold onto 'impressions', you'll lose the details if you don't write it down.
2. Practice your Creative Focus: pay attention to what's happening around you. Practice being flexible, especially when you feel bullish or frustrated. Treat your reluctance as a new experience and do what you wouldn't normally do. Practice doing the opposite. Contrary behaviour is an excellent way to achieve mental flexibility and it actually provides you with greater control, not less. Focus on process rather than outcomes.
3. Slow down. Look closer at everyday objects. Keep looking until you see at least one thing you never noticed before. Practice Mindfulness Meditation. Learn to focus on your breathing and to observe what passes through your mind moment by moment.
4. Deliberately change your routines: take a different path to work; grab a magazine you've never read before; change your habits - try Miso soup instead of coffee; turn of the television (for a week)!
5. When you read, put the ideas that are feeding your mind into practice. The purpose is to use the words/ideas as a launch board to something else. What do you see in your bookshelves? Hopefully there is a mix of biography, magazines, 'how-to' manuals, philosophy texts, fiction, photography/art based books, nonfiction...Branch out, read something different.
6. Look for patterns and trends: on the internet, junk mail, your readings, local newspapers, public lectures etc.
7. Keep an Inspiration folder/journal. Stuff it full and sometimes look inside it to arrange it, and pull things from it. Reshuffle bits and bobs. Free associate with your inspiration-folder. Make new connections. Review your folder/journal to spark your imagination.
8. Travel, in any way you can: Make the trip to the shops a quest by taking a different mode of transport. Don't just rely on the car. Walk. Try a skateboard!

Flat Footed? You Still Can be A Ballet Dancer

"I have ‘flat feet.’ Does that mean I can't do pointe work?” It's a common question and one that I had. The answer to this can be yes, or no. It really is a “that all depends” scenario. This is due to the fact that there are basically two types of ‘flat feet’.

Some dancers (and people in general) do have anatomically ‘flat feet’. This is usually genetically based, and often there are visible racial trends. Some girls will tend to have a flatter curve to their arch in standing due to the actual shape of the bones in their foot, and no matter how strong the small foot muscles get, the shape of the foot will not change significantly. If this is the case, pointe work is still possible, assuming all the other requirements for pointe are achieved. The foot will perhaps not have the optimal appearance en pointe that many companies desire, however, the dancer will be reasonably safe en pointe. In this situation the ligaments should be stiff enough to help stabilize the foot, and the dancer must have good control of the small muscles of the foot.

Other girls will have the appearance of a ‘flat foot’ due to the presence of very mobile ligaments and poor muscular support. This kind of mobile foot can be developed to look great en pointe when very strong, however a girl should not be allowed to progress onto pointe while the foot is so weak. This foot often looks reasonable (or even very good) in a demi-pointe position, but the arch control drops as the dancer drops her heel. Specific strengthening of the arch and isolated control of the muscles supporting and controlling the toes is essential before commencing pointe work.

These dancers usually have increased mobility in many other joints in their body, and may have problems in their knees or back due to increased movement and decreased stability in these joints.

In addition, some girls have a very high arch to their foot, yet are very weak in the small muscles of the feet. While it may appear that they have good control of the arch, as it does not roll in en fondu, it must be ensured that the foot is actually strong enough.

Many girls have such stiff ligaments in their feet that their arch is rigidly held in place, without any muscular support. There is little movement between the bones en fondu, and because of this they can be prone to foot, ankle and knee injuries, due to the lack of shock absorption in allegro and pointe work. This dancer must work on the mobility and strength of the foot prior to attempting pointe work.

To assess the true nature of any ‘flat foot’ takes skill and practise, and is ideally done by a trained medical professional. Instead of simply looking at the shape of the arch, it is important to take a look at the position of the heel bone (Calcaneus) and the relative position of the next bone in the foot (the Talus). The Achilles Tendon should fall in a relatively straight line when viewed from behind, but may appear to have a significant curve at the level of the ankle, if the heel and the arch are rolling in.

It is essential that each dancer learn the strengthening exercises relative to his or her type of foot, and be aware of the implications of their body type before progressing onto pointe. This is often difficult for dance teachers to do with each child individually, so if there is access to a Physiotherapist/Physical Therapist or Sports Doctor who is familiar with dealing with dancers, an assessment is advisable before commencing pointe work.

A Few Exercises to Strengthen Your Feet

Toe Spreads - Sit, stand, or lie down and fan your toes out as widely as possible. Create space between each toe. Hold this position for ten seconds, and repeat the exercise ten times daily per foot.

Point at Things with Your Toes - Pick something, anything, in the room and point your toes at it. Now flex your foot. Hold it for five seconds, then release. Again, do this ten times per foot each day. For extra work, try tracing the alphabet with your feet in midair each day.

Get On Your Toes> - Stand on your tippy-toes and just walk around for five minutes each day. Never let your heels touch the ground for the duration. Barefoot toe treadmill work is a worthy alternative.

Stand up Barefoot and get in a shoulder wide stance. Bend your knees slightly and roll onto the outer edges of your feet. Keep the weight on your outer feet and slowly raise up on your toes. You should feel your longitudinal arch stretching; once you do, hold that position for five seconds. Repeat five times each day.

Walk in Sand. - Sand is never the same. If you walk barefoot in sand, it will force your feet to adapt and strengthening them.

And, if you need inspiration, consider this quote: "Margot Fonteyn didn't have great feet." --Amanda Schull as Jody Saywer in the movie "Center Stage." Ballet master and innovator himself George Balanchine critiqued the first lady of Royal Ballet herself as, “Hands like spoons, bad feet, can’t dance at all.” Yes, Margot Fonteyn had flat feet. But that didn't inhibit her.

Technique is one thing. But Margot had a way that transcended mere skill or exact body type. Fonteyn was an icon in her field, regardless of how “proper” her feet might have been. There is more to the ballet than mere physical dance.

The exact body type, feet, etc. is not written in stone or law. While the conventional way increase the odds of you getting classical roles and employment sooner, remember that the ones that break the mold are the ones people remember. The ones who are granted Damehood and Absolute Prime Ballerina.

Here is an exercise video from Ehow.com that is helpful:

Lifting the Curse: Being a Good Dance Mom or Stage Mother

When we hear the term "Stage Mother", more often than not, we envision a tired little girl wearing a beautiful lace adorned dress or dance costume, heavily made-up and forced to perform. The "Gypsy Rose Lee" mother types are not just on the Broadway stage. In fact, in our current world of reality television, we are regularly seeing these types of moms on Toddlers and Tiaras, Dance Moms, and, perhaps, even in your studio. Mama Rose doomed stage mothers and unsuspecting dance parents who genuinely are good, positive role models.

Shows like America's Got Talent and the show Dance Moms also raise the question of how much is too much, not just in dancing but in singing, acting, etc? And while Dance Moms makes the dance studio owner/instructor the ultimate villain, it's the mothers who choose to place their children in this unhealthy environment. So, how to break the "Gypsy" curse? A good place to start is to determine the traits of a  negative dance mom and good one and which one are you?

It makes sense that a mother(or father) would want to encourage and develop a talent they recognize in her child. Sometimes, however, she may lose focus along the way, and the dream becomes a nightmare for the child.

In a mother's effort to nurture her child's talent, she can sometimes become more concerned with blue ribbons and 1st places rather than encouraging her children to do their best and excel at their own pace. A good way to determine if you are this sort of stage parent is to ask yourself a few questions, and then answer them honestly.

1. Are you concentrating your efforts on encouraging your child do their best win or lose, or are you demanding them to perform to the standard you feel they are capable of?

As much as we'd like for our children to excel, we can forget that they are just children. We can become pushy and demanding when they don't master that which we are asking them too, as quickly as we feel they should. If you find yourself constantly struggling with your child to practice, recite or meet deadlines, then you are probably an over-bearing stage mother.

2. Is your child still enjoying the time and effort required to fostering their talent?

Let's face it, children are like sponges. When something comes along that they garnish much delight from, they soak up as much of it as we allow them to. But, even the best video game or music DVD can become redundant and boring after a while. The same holds true for dance recitals, beauty pageants and ice-skating competitions.

If your child is telling you they don't want to participate any more or at least not as much, take their words to heart and back off. A great way to cause a child to throw their talent to the wind is to force them to repeatedly practice over and over when all they really need is a little break.
3. Has your child's demeanor, and productivity in other areas changed?

Has their performance level at school plummeted? Have they become plagued with innumerable phantom illnesses? Has their playful outgoing demeanor been replaced with placidity and disinterest?

If any of these things are occurring, you can rest assured you are an over-bearing stage mother. Every one of these signs should set off red flags. When children repeatedly try to tell us something and we refuse to listen or compromise, they will begin to act out in other ways to let us know how unhappy they are.

4. Take a good hard look at yourself and answer the following questions.

Are you more motivated to see them excel than they are? Do you force them to practice in spite of their obvious objections? Are you investing more time in being their agent than their parent? Are you empowering them to achieve their goals or living your lost dreams through them? Do you praise them in spite of not achieving first place? Are you soft spoken and gentle with them when they fail? Are you happy for the other children that do well or do you hold any animosity toward them?

If any of these indicators are present, try to back off. You are not helping your child achieve anything. You are pushing them away, tearing down their confidence, and denying them the wonder and rewards of self-exploration.

All children should be given the freedom to be just children. Pushing them to do what you think they're capable of won't work. Be patient and supportive in your efforts to polish their skills, but give them plenty of time to play and experience the simple things in life that children find so interesting and fulfilling. Let children discover their own talents and goals. They and you will be the better for it.

In the article How To Encourage Your Child Without Pushing Too Hard by Ali Goldfield, the author lists several, noteworthy “do’s” and “don’ts” for providing a conducive extracurricular educational experience.

In a Psychology Today article, the author, Hara Estroff Marano, provides several tips for being a Good (Stage) Mother. You can read these tips in the photo below.

The bottom line is that positive parental involvement is integral to the success of a child’s development, psychologically and creatively, in the short and long term. 

At the end of the day, we are all in this together, and we want each and every dancer to succeed. When parents take on the appropriate role of supporter and motivator, students thrive and discover their inner potential and passion. Parents have a tremendous, influential opportunity, and when that is used to empower and applaud dancers (their own and others), the impact is lasting and beneficial to everyone.

Mental Spring Cleaning - Rejuvenate Mind as Well as Body

Spring is here, and with it, time for some Spring Cleaning. Our minds are much like our homes.  They both get cluttered with old ideas, old attitudes, old conversations, old hurts. Both need a routine cleaning out of stuff that we collected for one reason, and are holding onto out of habit, neglect, or just sheer willfulness.

No matter what your profession, pursuing a simple, sustainable, flexible, happier lifestyle means that you have to choose it.  And that means choosing to lose some other things.   It means getting rid of things that no longer work for you, it means updating the way you do things, it means freeing up some space for new and exciting opportunities and challenges.

Just like cleaning your home, a mental Spring Cleaning takes a dedicated effort, a conscious choice to make changes in your mind the same way you make changes in your décor.

Here are some ideas to get you started on a Spring Cleaning for your Life:

1.  Clean out the anger, hatred, jealousy, and self doubt. If you need to apologize, bit the bullet and do it.  If you’re still angry and waiting on an apology from someone who won’t or can’t give you one, decide to let it go.  It’s not contributing to your life -- in fact it’s contaminating it -- so it needs to go to the junk heap at the curb.  Only then can you put something POSITIVE in it’s place.  Make some room for happiness.

2. Wash away delay and procrastination. Delay and procrastination set you up for frustration after frustration. You’ll find yourself constantly in the past, trying to catch up, scrambling around trying not to get caught.  Is that really how you want to live.  Get into the present!  You’re missing your life by living yesterday over and over.

3.  Dust off your attitude and put on a fresh coat of positive.  A positive attitude begins with gratitude. For just one day, practice giving instead of taking, practice sharing as much love, help, care, concern, and gratitude as possible.

4.  Throw out misunderstanding, and lack of patience. Sweep out the dirt of gossip or lies.  Open the shades and let in the warmth of friendship.  True friendships and other relationships  take work, time, energy, thoughtfulness. They require forgiveness and understanding. You don’t want to be a doormat to anyone, but you do want to find relationships that are equal and reciprocal.  The results are certainly worth it.

5.  Lighten up your thoughts with humor and fun. Yes life is difficult and the world can be a scary tiresome place. But in your own world, you are in charge of every day. You decide what to think about.  You decide when to laugh, you decide what to read, what to listen to, what to think about. Choose to insert laughter into each day; choose to have a little fun every day.

6.  Open the windows of your mind to new ideas and a fresh perspective on living a happier, better, easier life. Change takes action.  There’s no silver bullet, no magic pill.  But if you’ll open your mind to some different ways of doing things, if you’ll try some new habits, if you’ll work your mind muscles and your organizational skills in a different way, you’ll find that you’ll create the life that you truly want, not just the one that you end up with.

7.  Enjoy the person you are. Slow down. As life moves so quickly, surrounding us with the constant stimulation of the information stream, we need to find a way to quiet our minds and make quality time for ourselves.
 “Downshift”, or streamline your life however you can in order to “upshift” the overall quality of your life. Reorganize your highest priorities and re-evaluate your commitments. What do you value most in your life? How much quality time do you spend with the people and the things you care about the most? What is the best way to use your time to create the life you want to have?
If you don’t like yourself, find out why, and start working on becoming a person you do enjoy and that others will enjoy also.  The returns will be worth it.

Breathing in Ballet - Some Tips

Breathing in ballet may seem as simple as, well, breathing. However, it has proven to be more challenging than it seems. In addition to sustaining your energy levels during class, rehearsals, and performances, breathing properly can visibly change your dancing for the better. .Knowing where to initiate your breath, when to inhale and exhale, and how to stay focused on your rhythm can take hard work, but it not only helps technique, it can help calm pre-performance nerves as well.

Don’t Suck in Your Stomach

Although a strong and toned core is essential to ballet technique, sucking in your stomach will eliminate much of your breath capacity. This common mistake can also make a dancer look stiff rather than supple and graceful. Sucking in tends to decrease hip flexibility and turnout, both of which are essential in ballet.

Use Your Diaphragm

As an exercise, stand in first position and place one hand on your stomach. As you breathe, pay attention to see if your abdomen (or “middle” in ballet lingo) is moving. If it is, then you are breathing into your diaphragm, which is a good thing. If it is not moving, try to relax the muscles around your ribs — known as the “intercostals.” As you inhale, your ribs will lift and expand away from your hips, filling your diaphragm and lungs. As you exhale, think of your body growing longer rather than bearing down. This action with your exhalation will help to keep the look and strength of a flat stomach while allowing your diaphragm to remain accessible.

A common mistake while dancing is to inhale fully and then only exhale partially. This creates a stilted look in your dancing and also prevents you from getting the oxygen you need. As your dancing becomes more strenuous — especially during jumps and longer variations — complete exhalations can be a lifesaver. Get into the habit of completing your deep breath cycles even at the beginning of class, so later on your brain can focus on the steps, and exhaling will be second nature.

Slow it Down

Your dancing body needs as much help as it can get. Quick, shallow breaths will only hinder your ability to fully participate in your dancing. Ballet is a technique that strives for extremes and a seemingly elusive perfection. The deeper and longer you breathe, the further you can push your technique.

Breathe into Your Back

A strong back is extremely helpful in ballet, especially in turns and pas de deux lifts. Filling up your back with air will assist in strengthening your muscles, particularly those just under and around the shoulder blades — which are known as the “lattisimi dorsi.” Commonly referred to as the “lats,” these muscles work as great reference points when practicing your ballet breathing. Try to create width between your shoulder blades while you inhale and then engage your lats as you exhale.

Up & In
Having trouble knowing when to inhale and exhale? Generally, when moving upward, you should breathe in. When traveling downward, breathe out. This rule of thumb is built into ballet technique. For example, before a grand plié, your hand in second position extends up before you descend down into the plié. Quite often, this moment of lift is literally called a “breath” of the arms — denoting an inhalation. So next time you are in class, notice how many of these arm motions occur, and think of them as cues to inhale.

Nose or Mouth

Most dancers prefer to breathe with the nose, because it feels more controlled and creates a serene look during performances. This is not to say that when you are pushing really hard (or when your nose is stuffy) that you shouldn’t breathe through your mouth. If you feel that you must use your mouth, try to breathe in through the nose and out through the mouth. This will aid in sustaining a longer breath cycle; and as mentioned above, this helps pump as much oxygen as possible.

Breathing is Moving

Dancing involves the whole body. Ballet is such a finely tuned art form that it is easy to become hyper-focused on the details. However, breathing deeply is a great way to unlock tension and free your perceived limitations. As you are dancing, imagine you have little gills all over your body — from your pinky toes to the ends of your fingernails — and breathe it all in. Then release it all out. You might be surprised how much more calm and grounded you feel, even during something as challenging as 32 fouettés!

How Ballroom Dancing Teamwork Transfers to Work and Life

 Much have been said about the physical benefits of Ballroom dancing. In reality, Ballroom dancing in both Latin or Standard style is a type of partner dancing that involves a high degree of co-operation between two individual dancers. It is a great way to learn to build trust, communicate, co-ordinate, lead and follow according to the rhythm of the music,  similar to a workplace where co-workers must learn to build harmonious work teams under some common business goals or targets and life relationships where friends, spouses, families must learn to respect each other's  individuality while working together.

Teams are Inevitable

It always takes two to tango in Ballroom dancing. Nobody can do everything by himself or herself no matter how good he or she is. Teamwork is inevitable in a workplace.

Music is universal to the ears of all dancers on the dance floor. Dancers interpret the music with their dance steps. The number of beats in a bar of music also dictates the number of steps that can be danced. Likewise, in the workplace, all team members share the same business goals and strive to achieve their targets according to deadlines. It is the common goal that bonds teams together.

In Ballroom dancing, there are different dance figures for both men and ladies. Each partner has to know his or her steps well in order to dance smoothly. At work,  or in relationships, everybody has a different role to play and he or she is supposed to contribute his or her own expertise to reach mutual goals and understanding..

The more difficult the dance steps, the harder the couple has to work together. The partners have to work out a mutually agreed solution to dance that step with confidence. As the challenges in the workplace or in relationships escalate, the need for teamwork increases. It always takes more than one person to solve bigger problems.

Independence Within Teams

Some beginner female dancers always misunderstand that they can just follow the steps of the leaders or partners and do not have to remember the steps themselves. However, that is not the case in reality. The leader can only indicate directions or change of dance steps. He cannot show his partner what to dance since his steps are different. In other words, the lady must still maintain a certain degree of independence (by knowing her steps) while following her lead.

Courtesy Breeds Harmony

It is never good enough to be able to dance with just one partner in Ballroom dancing. That is one of the reasons for dancers to learn to lead and follow different partners. In a workplace or relationships, everybody has to adapt to the different styles of fellow co-workers, supervisors, friends, family members, spouses,  whether he/she  likes it or not.

There is always dance etiquette to follow on the dance floor to avoid jams. Likewise, politeness in the workplace and in relationships increases harmony, thus greater productivity. A little consideration shown to others goes a long way to build happy teams.

Ballroom Dancing Is Team-Building

Ballroom dancing is an overall self-awareness training. The dancer must know his or her part before putting it together with the partner. In the work place, every team member must know his own role and the need to work with others to achieve the big business goals. A Ballroom dance competition is where seamless teamwork is demonstrated behind all the glamour and costumes.  It is this awareness of self and others that can be a tremendous life asset in any career and in any relationship.

Dancing With Disabilities

Ever watched Dancing With the Stars and wished you could do that? Or watched from the corner while your friends danced at a wedding or a party and longed to be out there with them? Maybe you just want a fun way to get in shape?

With the help of American DanceWheels, it’s possible for anyone to learn to dance, even if they thought they couldn’t. Ray Leight, a paraplegic as the result of a 1991 car accident, and Melinda Kremer, a ballroom dancer and mother of a disabled child, founded American DanceWheels Foundation in 1998 with help from Sandra Fortuna, mother of Brian Fortuna(from Dancing with the Stars and Strictly Come Dancing)   who choreographed the show Dancing on Wheels last year.

American DanceWheels teaches American-style wheelchair ballroom dancing. The international style, popular in Europe and Asia, is a refined style in which the arms are held high, handholds are hard to break and the able-bodied dancer always leads. Most people in the U.S. are not familiar with the international style and it limits with whom you can dance. In the American style of ballroom dance, if a person knows dances such as the waltz, the foxtrot, the cha cha or even the hustle, they can dance with a partner in a wheelchair.

History of Wheelchair Dance

Wheelchair ballroom dancing has been around since 1972, and has become increasingly popular as a competitive sport. There are 5,000 registered wheelchair dancers in Europe and 8,000 in Asia. Most overseas ballroom dancing competitions regularly feature 150 to 300 wheelchair dancers and their nondisabled partners. The international style, however, focuses more on the able-bodied dancer. The American style showcases both dancers’ abilities and Leight expects it to grow in popularity in the coming years.

The first international competition in wheelchair dancing was held in Sweden in 1977. The first World Championships of wheelchair dancing were organized in Japan in 1998 after several regional and international competitions. Wheelchair ballroom dancing is not yet a Paralympic sport. However, if it contiues to grow in popularity, the international style may makes its way into the 2014 Games in Sochi, Russia. Wheelchair dancers may participate in combo-style with a nondisabled partner or duo dancing for two wheelchair users. Formation dancing is for four, six or eight couples dancing in formation.

Physical and Mental Advantages

The physical benefits of dancing are obvious: increased strength and stamina, aerobic fitness and general well being. But the social benefits can sometimes be more important than the health benefits. It allows a person in a wheelchair to function in a nondisabled world, on his/her level, says Leight. You get so much from socializing. You can meet your spouse while out dancing, close a business deal in a social setting, make new friends and so on.

Besides helping to build confidence and reduce the sense of social isolation that sometimes impacts wheelchair users, researchers have shown that dance offers many health benefits. Mayo Clinic researchers report that social dancing helps to reduce stress, increase energy, improve strength, increase muscle tone and coordination—especially of the arms and shoulders—and maintain flexibility. The National Heart, Lung and Blood Institute (NHLBI) reports that dancing can lower your risk of coronary heart disease, decrease blood pressure, and help you manage your weight.

Other touted benefits of dancing include building and increasing stamina, developing the circulatory system, and helping release toxins via sweating. Dancing’s social aspect helps you develop strong social ties and leads to less stress, depression, and loneliness.

Because dance also requires memorizing steps and working with a partner, the activity provides mental challenges that are crucial for brain health—including reducing the risk of developing dementia and Alzheimer’s disease, according to researchers at Albert Einstein Center.

Whether you want to learn to dance for a wedding, special event or parties, to compete, or for pure pleasure, if you have the desire to dance, go ahead and live your dream.

Resources

There are a variety of wheelchair dance groups devoted to many kinds of dance. To learn more about wheelchair dancing, visit one of these websites or do a Google search to find a group in your area.

 American Dance Wheels Danceability DanceVision

Master of the "Frug" - Choreographer Bob Fosse's Unique Style

Legendary choreographer and director Bob Fosse once stated, "the time to sing is when your emotional level is too high to just speak anymore, and the time to dance is when your emotions are just too strong to only sing about how you feel." Bob Fosse's unique style and provocative dances have inspired artists for over 50 years. The mere mention of Fosse brings to mind black garbed dancers with bowler hats on heads, white gloves on hands, and bodies that are arranged in a highly specific, sensual yet unusual manner.

Born Robert Louis Fosse in 1927, Bob Fosse was the youngest of six children and used dancing early on to attract the attention he desired from his family. He began performing in burlesque night clubs as a young boy, which left a strong impression on him, leading later to dark sexual tones within his choreography. With the dream of becoming the next Fred Astaire, Fosse moved to Hollywood as a teenager, but premature balding limited the roles he could take in films. Only reluctantly did he agree to enter the world of live theater, his first of many choreographic undertakings being award-winning musical, The Pajama Game.

 Unique Style

Fighting scoliosis and painful arthritis throughout most of his life, Fosse never let his limitations impede his artistic ambition. Molding his own imperfections into a distinct sinuous style, Fosse developed a jazz dance style that is now immediately recognizable and brought an innovative dimension of sophistication and sensual energy to the Broadway stage. Some notable distinctions of his unique style include the use of inward knees, rounded shoulders, and body isolations, which he used to emphasize the smallest of body movements.

Success and Sweet Charity

After his initial success with Pajama Game, Fosse went on to choreograph and direct many more ground-breaking and award-winning musicals including Damn Yankees, Sweet Charity, Chicago, and Cabaret. Musical theater researchers and admirers agree that Fosse has claimed some of the most original and sustained achievements, especially with the movie Sweet Charity, where his dance style was introduced on film.

Sweet Charity is based on the 1966 Neil Simon Broadway musical, which used the Frederico Fellini screenplay Nights of Cabiria, as source material. With music by Cy Coleman and lyrics by Dorothy Fields, Simon’s musical was directed by Bob Fosse and stared Fosse’s then-wife, Gwen Verdon. The story focuses on the experiences of eternal romantic optimist, Charity Hope Valentine.

In the film, triple threat Shirley MacLaine sings, dances, and with a hint of melodrama, acts up a storm as the taxi dancer Charity. As defined by dictionary.com, the term “taxi dancer” has been used since the ‘20s, and describes a professional dance partner, typically a young woman hired by male patrons to dance on a dance-by-dance basis. Like a cab driver, the dancer’s pay was proportional to the time she spends with her partner – but the taxi dancer was not a prostitute as many critics have speculated.

Sweet Charity not only marked Bob Fosse’s directorial debut, it was also the first film roles for MacLaine’s co-stars, Chita Rivera and Paula Kelly, playing Nickie and Helene respectively. The Internet Broadway Database notes that at the time, Rivera was already a Broadway veteran, having originated such iconic roles as Anita in West Side Story and Rose Grant in Bye Bye Birdie. Kelly had only one Broadway credit to her name at the time.

The film marked the first time the world at large got a glimpse of Fosse’s dance genius on film. Watching one number in particular speaks volumes. “The Rich Man’s Frug” is arguably Fosse choreography at its finest. From the subtle signature hand movements to the elongated walks and innovative poses, Fosse used his version of the "Rich Man's Frug" to introduce his style of dance to film lovers everywhere. Fosse split the dance into three distinctive parts: “The Aloof,” “The Heavyweight,” and “The Big Finish” to convey the aristocratic and self-important glamour of a world Charity was not a part of, all without saying a word. According to biography.com, the number also featured the first film appearance of Ben Vereen, who was a dancer in the sequence.

In 1973, Fosse became the first director in history to win an Oscar (for movie version of Cabaret), a Tony (for Pippin), and an Emmy (for the television special Liza with a Z) in a single season. More than any other choreographer, Bob Fosse became responsible for making it seem that the Broadway musical served mainly as a vehicle for choreographic expressions and conceptions. His need to focus on the imperfections of a dancer's body to create new movements separated him from his peers and led to his accreditation as one of the greatest innovator's in musical theater history.

Rich Man's Frug - Sweet Charity