Miss Amy's Advice for Adult Dancers

I belong to a few different communities on Facebook for adult ballet dancers. Earlier this year, one of the ladies made a post asking for people’s input on “5 Things Every Ballet Dancer Should Know”. Her request really got me thinking. I wrote most of these with the adult dancer in mind, but here are some things I think every dancer young or old could do well to remember.

1. There's no such thing as a "ballet body". It is true that ballet will definitely come easier to some bodies than others, but if you want to dance, please just DO IT, whatever your size or shape! You may have tight hips or bad feet, but that has no bearing on whether or not you can dance. What is important is using what you have to the fullest extent that you’re able.

2. Corrections are important! Your teacher is giving them to you because they see potential and wish to cultivate it, or because you're making a technical error and are at risk of injury. Take them as a gift and do your best to implement them. If you don’t understand what your teacher means, ask for clarification; your teacher will try explaining things differently or use different visuals or give different hands-on corrections until you get it. If you're having an off day and can't handle too much criticism, don't be afraid to tell your teacher at the beginning of class and they'll go easier on you. It can also be helpful to let your teacher know your dance goals at the beginning of the year; they’ll likely push you harder if you’ve got aspirations of being a professional than if you’re just there to keep fit and have fun.

3. Technique is important, but don't forget to MOVE. Feel the music, feel the movement, and let your body just go with it. A technically perfect but mechanical dancer is almost never as captivating as the one who may not be perfect but dances with their heart and soul. It can be scary to bare so much of yourself, but that’s what gives dance its artistry. Even if you think you’re giving enough in a movement, give even more. Your teacher will tell you when it’s too much.

4. Respect your body. Injuries won't go away by pushing yourself through them. Know when to mark or modify and know when to take a break. Don't be afraid of disappointing your teacher - they will respect you more for knowing when you need to take it easy instead of pushing yourself beyond your limits and aggravating things further. Also, it is important to keep your teacher apprised of injuries or other ailments which could affect you in class. This way they can help you modify movements so as not to aggravate things further, or they may even be able to help pinpoint errors in technique that may be causing the pain and give you corrections to help alleviate it. One of my teachers can ALWAYS tell when a dancer is hurting and he won’t hesitate to call us on it, though he would much prefer for us to inform him at the beginning of class.

4. To get good at something, you must practice. Often. One or even two ballet classes a week is not enough to build strength and good habits. Practice balancing in coup de pied while you're brushing your teeth. Practice articulating through your feet in tendus in line at the grocery store. Practice pirouettes in your kitchen while you're waiting for the food to finish cooking. Mentally review choreography in the shower.

5. Remember that anything is possible, if you set your mind to it. I have heard so many people say "oh, I would love to do ballet but I'm too old now". I didn't begin dancing until I was 18, and now I dance en pointe, take Cecchetti exams, and I am a certified ballet teacher! I dance with women as old as 70. You're never too old to start!

(And a few bonus ones!)

 
6. Yes, we all love ballet, but don't be afraid to expose yourself to other kinds of dance. Try a drop-in salsa class. Take tap or modern for a year. Do a trial class in African. Attend a contemporary performance at your local theatre. Get out there and broaden your horizons - it will certainly not hurt.

7. Comparing yourself to other dancers can be both a blessing and a curse. It can help us immensely – making us push ourselves to finish a pirouette as gracefully as she does, or to get elevation in our jumps like he does. Teachers sometimes use it as a tool in class with our kids to see who can jump with the straightest legs or stretch their feet the most in gallops. But when comparing yourself to other dancers starts having the opposite effect and makes you feel discouraged and defeated, that’s when it becomes detrimental. Everyone’s body is different and when it comes down to structural things (foot flexibility, natural turnout allowance, etc), there is not a whole lot we can do to change things, except to making sure we’re using what we’ve been given to the fullest extent. Learn to compete with yourself to keep your focus and continually improve each class. Ballet is HARD. I always tell my dancers “if it were easy, it wouldn’t be called ‘ballet’.” But by focusing on the observable progress we’ve made, however small (like the first time you don’t mess up the batterie exercise, or when you first finish a pirouette because you want to and not because you’ve fallen out of it), we can keep ourselves motivated to keep pushing and improving.

8. The importance of strength should not be underestimated. Core strength is integral to most of what we do in any style of dance, be it balancing, turning, supporting our body in extensions… Supplementing our dance training with other activities to build this strength is not a bad idea. Additionally, we must be aware of the difference of actually ‘holding a position’ versus merely ‘making a shape’ with our body. For instance, I can make my foot look generally stretched, but if someone is able to easily wiggle it with their hands then it shows I’ve not been using the muscles under my foot to hold the stretch. These feet will not be fully stretched in allegro as I don’t use my strength to hold it. Or if I plant my feet in a turned out position and let friction with the floor keep them that way but there is no activation going on in my turnout muscles, I am neither gaining nor maintaining strength in this position and there is no way I will be able to maintain turnout on one leg (in adage or a pirouette, say) or in the air during allegro. Our muscles should never be ‘tense’, but they should always be ‘held’.

Furthermore, here is a blog post on the subject by Laurel Simon: http://www.lsimononline.com/blog/what-i-wish-my-younger-self-knew-about-ballet

Amy Derkson - My Dance Story

Hi dancers and parents!

This is my first year being on the official teaching roster at ESB, but I didn’t get here in the same way that most teachers do, so I thought I would give you a bit of my backstory.

I started dancing in the way most of us at the tender age of 3 or 4, in a combined tap and ballet class at the studio near my house. I hated it. I thought ballet class was boring and though we weren’t raised to be quitters, my poor mother gave up the fight and stopped dragging me (kicking and screaming) to class when I was 6.

Fast forward to my mid-teenage years, and I wanted nothing more than to dance. Our ‘social dance’ units in gym class were the only times I ever truly thrived in phys. ed. I couldn’t hear music without moving to it. I couldn’t even play my clarinet without moving around as I played. I would try and make up my own contemporary choreography to my favourite songs, but I was sorely lacking any sort of training so I had no movements in my repertoire and no experience on which to draw. I knew I had some natural talent in dance and desperately wanted to start taking classes, but this was long enough ago that there wasn’t much opportunity for beginner teenaged dancers (at least not that I was aware), so I had to wait until I was old enough to take adult ballet classes.

The summer after my first year of university, I did a simple Google search for adult ballet classes, and I chose to go with ESB as they offered the greatest variety of adult ballet levels, and their teaching staff were all highly qualified. My first classes were the ESB summer intensive that year. It was sweltering, the studio was crowded, and my body hurt for every day of those two weeks. But I loved it. I knew this was what I’d been waiting for. (In case you were curious, my brief training in childhood gave me NO advantage. I had forgotten everything from those dance classes. I didn’t even know what a plié was. It was like I’d blocked the memories or something.)

I continued on that year in Adult Beginner ballet, and I added a second ballet class and adult modern in my second year. I continued taking two ballet classes and modern, and in my fourth year I added adult tap and jazz as well. I loved all of it: I loved the technical aspects, tradition, and artistry of ballet; I loved the fact that I really felt like I was dancing in modern because we got to just move; and tap has always been the most FUN I’ve ever had dancing, even though I was the only beginner and experienced quite a steep learning curve in that first year. I’ve always loved performing and have taken every opportunity I could to get on stage, be it for a competition or for ESB show.

I continued to expand my dance horizons where I could. I attended workshops when the opportunity presented itself. These have mostly been in modern and ballet, though I’ve also taken workshops in some really different styles like creative movement, salsa, Broadway, burlesque, bellydance, go-go dancing, traditional Swiss dancing, Hula, Bollywood, traditional East Indian dancing – Bharatanatyam and Bhangra, and bachata. I’ve even been inspired to workshop in things which have had nothing to do with dance like aerial silks, hooping, Garuda, acro yoga, and poi spinning. I took intermediate contemporary and Afro-Cuban classes- at the U of A. I took floor barre, contemporary, jazzfunk, and tap classes at Grant MacEwan. More ballet, tap, jazz, and contemporary, as well as some new things like stretch & strength, hip hop, and Irish dance at some smaller studios around town. I’ve done my best to really expand upon my traditional training and make myself a truly well-rounded dancer.

I really got the opportunity to take my ballet training further in my sixth year at ESB, when my teacher took me aside after class and asked me how I felt about getting pointe shoes!! Can you imagine? Me, an adult, getting en pointe?! This was well before ESB began offering adult pre-pointe and pointe classes; in fact, by this point I had never even heard of another adult dancer getting recommended to go en pointe, and I certainly never thought I would ever get there. I was shocked. And elated. Isn’t this every dancer’s dream? I gave a vehement YES to the idea, and after Christmas that year we attended my first pointe shoe fitting. I spent an entire shift at work one day sewing ribbons onto my shoes (the first time takes AGES, let me tell you). I had a few private pointe classes with my teacher, and then I started wearing my shoes in my adult class – just for the first part of barre, then the whole barre, and then in the centre for adage, and eventually even for allegro. It truly was a dream come true, and to-date I still consider it one of my major life accomplishments; I never ever in a million years thought that I, who started dancing at the ripe old age of 18, would ever earn a pair of pointe shoes. It felt really good to know I’d earned it, too! I knew a few dancers who, against the advice of their teachers, snuck out and bought themselves a pair and fumbled their way through pointe in their kitchens at home, but knowing I’d waited for permission made it that much sweeter.

Despite all of my training in a whole list of styles, and even making it en pointe, I never thought that I would be able to do anything with dance beyond having a rather expensive hobby. That is, until later that same year I was approached about auditioning for ESB’s Cecchetti Teacher Training Program. I hadn’t dreamed of being a ballet teacher when I was growing up, nor had I ever thought as an adult that it would be a possibility for me, having started as late as I did. But by this point I had a physics degree I was never going to use, no life plan to speak of, and I was advancing leaps and bounds in my ballet training, so this really was the perfect opportunity, and one I wanted badly to explore.

I auditioned, but having only trained in adult classes and not having taken a syllabus exam in my life, I was required to take a “Provisional Year” and play catch up. I started taking Cecchetti and RAD syllabus classes for the first time and successfully passed my first ever Cecchetti exam. I’m now in my third year of part-time studying with the program and I continue to attend the Associate (theory) and Cecchetti syllabus classes, as well as assist with other ESB classes (Junior Grades and adult ballet). I have had many opportunities to hone my craft by substitute teaching countless classes in a variety of levels (ages 3 to adult and everything in between) and styles (ballet, tap, modern, hip hop, and acro) at a number of studios around the Edmonton area in addition to ESB. This past year I became certified to teach the ESB Junior Grades, and this year for the first time I have my very own classes! Subbing is one thing, but to teach and choreograph for your own classes is something ENTIRELY different. It has been quite the experience – I’ve gained such a deeper understanding of ballet through teaching it, and my own technique has improved immensely!

I have been told by many of my fellow adult dancers that my journey has been inspiring to them, and I hope that by telling it here I can inspire a few more. You’re never too old to chase your dreams, and so much can be possible if you just set your mind to it! Never give up on your passions, no matter what they are. If it’s calling to your soul, pursue it!

– Miss. Amy

Healthy Snacks for Busy Dancers

As a follow-up to last week's message from Miss Tanisha about how to fuel a healthy dancer's body, here are some great easy and healthy stacks that can work well for busy dancers!

http://www.danceadvantage.net/healthy-snacks/

10 Healthy Snacks for the Busy Dancer

May 23, 2013 by Kathi Martuza
Dancers are busy people –

Flitting around between school, dance classes, rehearsals and performances…It can be difficult to find the time to fuel yourself properly to best perform your craft.

During my 15-year career as a professional ballet dancer, I found it pivotal to my performance to plan ahead and bring lots of healthy snacks that gave me tons of energy without ever causing me to feel too full to dance.

When searching for a healthy snack, a good rule of thumb is to find one that will give you a healthy protein, a healthy fat and a healthy complex carbohydrate. With this in mind, here are my top 10 favorite healthy snacks for busy dancers on the go!

1. Avocado toast

Toast 1 piece of good-quality gluten free or whole wheat bread, smear with half an avocado, sprinkle with salt and pepper and enjoy!

Photo by Ewan Munro 

2. Hard boiled eggs

Cover desired number of eggs with an inch of water in a pot with a lid. Bring to a boil on the stovetop on HIGH. Turn burner down to low and simmer for 7 minutes. Rinse in cold water. Peel, add a little salt and pepper and enjoy!

3. Hummus and carrots

Scrub carrots clean, dip in your favorite hummus and enjoy!

4. Banana/apples/celery with nut butter

Prepare your banana, apple slices or celery sticks, smear with 1-2 Tbsp. of your favorite nut butter (peanut, almond, cashew, sunflower, soy) and enjoy!

5. Popcorn with coconut oil

Heat 2 Tbsp. of organic coconut oil in a large pot on the stovetop over medium-high heat. When the oil is hot put a kernel or two of popcorn into pot and wait for them to pop. Add ½ cup popcorn kernels, cover with lid and gently shake over the burner until it all pops – about 5 seconds – and enjoy!

6. Avocado with salsa

Slice an avocado in half. Keep the pit in half of the avocado and store in a plastic bag/container in the refrigerator for later. Take the other avocado half and fill the “cup” with your favorite salsa. Eat with a spoon and enjoy! (For an easy and fresh salsa recipe check out my fresh salsa recipe.)

Photo by cyclonebill

7. Edamame

Boil edamame in a large pot of boiling water on the stovetop according to the directions on the package. Drain, rinse with cold water, sprinkle with a little salt, and enjoy!

8. Nuts, dried fruit and dark chocolate chips

Mix together raw or roasted almonds, cashews, walnuts, pecans, sunflower seeds, pumpkin seeds, with dried cranberries, cherries, apricots, mango, pineapple…add a few dark chocolate chips and Voila! Your very own trail mix to enjoy!

9. Grains with olive oil, soy sauce, siracha

Make grains such as brown rice, quinoa or millet, ahead of time. Divide into small portable containers, toss with 1-2 Tbsp. good quality olive oil, a little soy sauce to taste and, if you like spice, try adding a little Siracha sauce (can be found in the Asian section of most supermarkets). Take a spoon with you and enjoy!

10. Protein/veggie “rolls”

Take thin sliced oven-roasted chicken/turkey breast and lay flat. Put 1 piece of good quality cheese in the center, along with a slice of avocado and a slice of cucumber…roll it up and enjoy!