Tuesday, November 8, 2016

The Perfectionism Problem

ESB and Vimy teacher Erin Madsen thought that many of our dancers would benefit from reading this article.  Is this you?  How can you use your perfectionism to help you and not hinder your progress, growth and experience?

This article is borrowed from
http://www.dancespirit.com/your-body/mind/the-perfectionism-problem/




























(by Lealand Eve)

As a teenager, contemporary dancer Eveline Kleinjans felt like nothing she did was good enough. Auditioning for university dance programs paralyzed her: “I was so focused on every move I made and what people would think that I wasn’t able to be free, to be myself,” she says. And her intense perfectionism had real repercussions. “I’d get negative feedback saying, ‘We don’t see you.’ ”
Perfectionism is extremely common in the dance world, because dancers hold themselves to terrifically high standards. It’s easy to get a little discouraged when you aren’t improving as quickly as you want. But there’s a difference between healthy self-criticism and an unhealthy obsession with perfection. How can you tell when your drive to be better has crossed the line—and what can you do to get back on track?

Understand Your Tendencies
“Perfectionism is an inborn personality trait,” says performance psychologist Dr. Linda Hamilton, “and it has a lot of positive aspects! Perfectionists have high standards. They tend to be organized and meet their goals.” At what point does perfectionism go bad? “When you set unrealistically high goals and, when you can’t reach them, become plagued with self-doubt,” Hamilton says. If you’re constantly questioning whether you’re good enough, you could have a problem.

“Some people are perfectionists only in certain activities. For others, it permeates who they are,” adds Carly Goldstein, a postdoctoral fellow at Alpert Medical School at Brown University and The Miriam Hospital. “Training to be a performer can be such an all-consuming process that feelings of inadequacy in one area can bleed outward: Having a bad dance class can make you feel bad at everything.”

Watch for Symptoms
Not every perfectionist will experience the same issues. For Kleinjans, perfectionism was an emotional roller coaster. “Some days, I really wanted to work to be better. Other times I was like, Why even try? I’m never going to be good enough,” she says. Many perfectionists, rather than experiencing up-and-down emotions, get stuck on one end of that spectrum—either pushing themselves so hard they become exhausted and injured, or trying to avoid the dance studio at all costs.

Is your perfectionism driving you to rehearse the same choreography over and over until it’s exactly right? You might be at risk for burnout. Do you feel strong anxiety at the thought of making a mistake? You could develop stage fright, or avoid an important audition rather than risk failure. “I’ve known perfectionists who were so self-critical that they stopped dancing way before their prime,” Hamilton says. Pay attention to how perfectionism makes you feel—and what behaviors it inspires.

Fight Back
Understanding your specific perfectionism problem is only half the battle. You also have to take steps to change your mind-set. Here are a few techniques. Try the best-friend test. When you start berating yourself, think, “Would I say this to my best friend?” “If your friend had an off day, would you tell her she had no talent and should quit dance?” Hamilton asks. “Of course not!” Recognizing how harsh you’re being can help you stop harmful self-talk.

Distance yourself from your thoughts. Do you have a nasty inner voice that chimes in when things get hard? Goldstein suggests giving that voice a silly name. “Let’s say you keep falling out of your turns,” she says. “Your inner voice might tell you, ‘You’ll never get it right. You should just skip the rest of class.’ But if you think, ‘That’s not me talking—it’s the World’s Worst Motivational Speaker,’ you can see how those thoughts both aren’t true and aren’t helpful.”

Put your struggles in perspective. It might feel like you’ll never nail that triple pirouette—but is that really true? Instead of thinking in black-and-white terms, spend time in the gray. Remember how far you’ve progressed in your training to even be attempting such a difficult step. Consider that your favorite professional dancers once couldn’t do triples either—and that they have moves that frustrate them now.

Avoid comparisons. “Put blinders on and work on you,” recommends Nashville Ballet dancer Mollie Sansone, who struggled with perfectionism for years. In a ballet world seemingly filled with perfect bodies, she agonized over her less-than-perfect turnout and feet. But after getting so discouraged that she considered quitting, Sansone regained self-confidence by homing in on her strengths rather than her weaknesses. “Focus on what you have to give,” she says. “I’m a good turner. I’m good at petit allรฉgro. I connect with the audience. I took those qualities and ran with them.”

In addition to reframing your negative thoughts, you can combat perfectionism by surrounding yourself with a strong support system. “When you’re starting down a path that’s destructive, it’s important to catch it early,” Hamilton says. Talking to a teacher, mentor, parent or therapist can ease your burden. “It’s impossible to be perfect,” says Ballet Spartanburg’s Nichola Montt. “There’s always something to work on! The most successful dancers are the ones who can accept their flaws and mistakes and learn from them. Then you can grow as an artist.”

Tuesday, November 1, 2016

Weight Placement on Pointe

I found this article about weight placement on pointe that I thought might be helpful for our ballet students studying pointe work from www.balletcurriculum.com.  It was originally posted in September 2014 by Kim Hungerford.



When I explained this concept to my Pointe students, they were blown away! Some of them are taking pointe for the first time this year, but others have been on pointe for three years now and have never been told how to correctly place themselves while dancing in pointe shoes.
No matter your type, every arch should allow for the toes to make contact with the floor at exactly a 90ยบ angle. Again, using the illustrations from Ruth Brinkerhoff’s “Pointe 1: An Introduction to Pointe Work“, we can see exactly how that is accomplished.






This illustration shows correct bone placement en pointe.

High Arches

The first drawing is of a student with high arches. Sometimes the tendency for this type of student is to push too far over the box of their shoe and put unnecessary weight on the toenails. Brinkerhoff’s solution: “High arches will need to make a slight dorsiflexion at the metatarsal-phalangeal joint (note the arrow) in order to get the weight exactly on the ends of the toes”* The dancer with high arches may need to be reminded that thought she is making a slight dorsiflexion, she is still “pointing” her foot and stretching her ankle, just like everyone else.

Average Arches and “Flat Feet”

The second and third drawings show that the ankles and feet are fully stretched and the toes are pointing directly down towards the floor. Pressure must not be placed on the knuckles of the toes or on the toenails. Even for those students that are “flat footed”, it is still possible, with some strengthening and extra conditioning at the barre, to bring weight over the tops of the toes en pointe.
This drawing shows the feet as they would appear in pointe shoes. [Ask your teacher] what types of arches [you have] so that you can [get] personalized advice based on [your] musculoskeletal needs.







Correct Weight Placement en Pointe
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You may also be interested in the following videos that are on the www.esbdance.com and www.vimydance.com websites regarding fitting pointe shoes and sewing and tying your ribbons.

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