Crack another Nut...

(before I get started... that title falls into the category of "things that sound dirty but aren't really" which may be a utilized when I start my non-dance related blog -- start looking forward to it)

For now... we discuss the excitement surrounding the final week of THE NUTCRACKER PROJECT... which for as long as I can remember has been our traditional lesson unit from Thanksgiving to Christmas Break. We learn the story. We watch videos to compare interpretations. We learn the characters and the theatrical gimmicks. We do barre exercises to the music and prepare for a listening test. They are encouraged to recognize the music in the variety of places it pops up .. the mall, elevators (a given), in movies and television commercials. And hence my new found wonder... what advertisement agency decided to use Sugar Plum Fairy Variation in the background to sell a truck with a tag line... "two ton Nutcracker" -- how did that sales pitch go? Wish I'd been there.. heck, wish I'd thought of it.

The kids finish off the project by creating their own Act Two divertissment. They interpret and dance about and have visions of themselves being every bit as graceful as the sugar plums that dance in their heads.

Here's how i give out the assignments to groups:
We will call this Nutcracker Astrology..instead of being born under the influence of a certain star... you're going to be typecast until you become a star.

If you are talented you get to dance Spanish -- counting in 6's instead of 8's is tricky, you can be proud and sophisticated
If you are truly a beginner but you are catching on to the ballet stuff , you are told to be a lady-like, and a little flirtatious and you will be a Mirliton (also known as Marzipan or Reed Flutes -- it helps if you can handle multiple personalities)
if you have a clever side to you and can pick up on cues in the music, you think fast and creative-- you get to dance Chinese, being quick and precise is your thing
if you aren't too graceful, you have a few skills, but prefer not to be bothered to think up too much original stuff .. start doing some kicks and knee bends... you will be a Russian. We might call you Trepak and someone else might call you "Peppermint" but you don't care -- you are going to bulldoze your way to the final note
If your a limited in your dance ability but you don't mind being the class clown..you guessed it, you will be assigned to Mother Ginger and you will dance around acting goofy and think that you are the stars of the class -- always relying on the old adage, "they're not laughing AT you, they're laughing WITH you." At least that's what your mom told you and you believed it.

A great once in a while I'll actually have a couple of kids who want to dance to Arabian... the slowest and dare I say it, sexiest of the dances in the Act Two stuff. I never tell the kids about that "sexy' part because I'd either have too many thinking they'd be perfect for the part or I'd get called into the principal for teaching inappropriate material. I always tell the students you have to be flexible and have lots of control to get that part in a professional company. Lost somewhere in all that description is a universal truth for us grown ups but I'm going to leave it you to decide exactly what I mean.

Another oddity that has occurred over the years is sometimes I'd have to give a group the Marche and tell them to pretend to be the toy soldiers -- this is for the group that has less imagination than the in-your-face Russians and less skill than the sweet but slow moving Mirlitons and generally they have NO personality so they can't be in Mother Ginger. -- These are the times when I've thought -- I've done all I can for you and you've only come so far... so I've given you the perfect part -- pretend to dance like a moving piece of wood... paint a smile on your face and follow your leader... And they usually use the tendu combination, march around each other do a couple of salutes and they finish feeling proud. Hey, whatever works.

I've never asked any group to do Dance of the Wall Flowers.. I mean, Waltz of the Flowers. Man, having danced it myself, that thing goes on forever ...and its just not interesting past the first twirl of the skirt. At least in Waltz of the Snowflakes.. you get to start with flurries and end with a blizzard... In Flowers you just go back and forth and forward and back and round and round and your feet have to move fast and your arms have to be graceful and your inspiration -- you're a BUD that opens to display your petals..a salute to majesty of horticulture. As I ponder this now as I have often done before when I had nothing better to do but overanalyzing 18th century ballets looking for absurd and obscure sociopolitical symbolism... I often get stuck at this same thought.. . What do flowers have to do with the Kingdom of the Sweets? I am haunted by an uneasy thought.. maybe the original waltzing flowers were the same evil, drug allusion thing that played out in the poppy field in the Wizard of Oz?

I shake off this disturbing thought and remember that there's nothing to worry about -- its just a ballet, tinkly music and tutus, where a strange, older man gives a little girl a gift which induces a dream in which her Christmas tree grows to enormous size, toys come to life and evil mice battle with them and then there's a little violence, somebody gets killed and then she gets carried off to a fantasy world...a place called, The Kingdom of the Sweets.. nothing sinister there.

But that's just for those of us who might be described as "thinking too much"

The Kingdom of the Sweets -- especially when interpreted by a bunch of first semester dance students is a delightful place to spend the holidays and I rest assured that neither a Witch nor the Rat King is going to fly over and sky-write "Surrender Clara" during our Act Two.

That is of course, unless i decide to write in a part for myself!

Just a Quick Thank You...

I reached my goal of 10 Followers! Thanks and now you can ignore me if you want.

I'm sending you each a virtual gift basket filled with chocolates, wine, flowers and nylon long sleeve black leotards (from the 70's) and pink tights...in Size A.

:)

Pirouette Rap Lyrics

How many variations on the same chant have we teachers said over the years?

"Tendu Second, plie Fourth and.." blah blah blah and so on.

Over the years I've tried "right foot, right arm AND (as the prep arm opens), right foot lifts and lands"

Also been known to chant "open and plie and gather and balance" or "gather and snap" --Not the "bend and snap" of Legally Blonde fame...but the releve, use your center, control your arms and use your spot til you hair comes out of its binding "Snap" of the neck that would make a chiropractor proud.

Why don't these kiddos realize that their necks will move independent of the shoulders? I've seen my share of chicken neck moves accompanying the Attitude before. Can't believe that those some muscles don't respond when called upon to help someone learn to turn.

A "career first" today, had to explain not once but twice (two different classes and sadly both DANCE 2) what I meant by "right pirouette" --- and this was after ten minute intro and review. Seems that whole "working leg/supporting leg" is a mystery. It occurs in today's politically charged climate of "who's doing the working to be supporting someone else" this could be an unforeseen symptom. This wasn't a question of outside turns or inside turns ( I do have a excellent explanation for that if anyone requests it) and this wasn't about turning to the right or turning to the left over one shoulder or the other.

This was "why is this called 'right'?" Which for one brief moment I mulled over saying "the way you are doing that would more accurately called 'wrong' but then I realized (1) that would be mean and (2) they still might not get it."

So foolishly I tried to reason with honest proclamation, "I am standing on my right foot when I go around" which was the truth.

Student One prepped with the right, opened her right arm and then threw her Frankstein torso with shoulders up to her ears onto her back leg as she flung her left arm around to meet the other, spinning off balance and nearly squatting sumo style to land.

Student Two created a pique move out of it (The Russian judge wanted to give her extra credit for her inventiveness). Nice prep, looks square, opens the arm and then steps around to look at the back wall and bring the left leg up and swiftly around to land.

Okay-- Let's get this straight in this "right pirouette" whether we did an outward turn or and inward turn the "right leg" is the working leg...like when I say the "outside leg is the working leg at the barre." Blank stare.. no transfer. Okay, your right leg does all the work -- your left leg is there for support. Blank stare...no transfer. How 'bout the right leg is decoration and the left leg is flag pole. okay,maybe that works.

Two 16 years don't know what I mean by "supporting leg" -- I resisted the urge to say that they don't exactly know what "working" means either. That would just be generation bashing.

I think this just goes to prove one more time...everything you learn in dance class can be applied the greater world beyond the barre and mirrors. Unfortunately, it takes a long time for message to get through.

I guess I'll present this bargain to them...You start showing me the work...and hopefully then you'll recognize I'm supporting you!

Tendu second, plie fourth, and Spot and Land....and now try LEFT.

Lord Help Us!

To Saute' or not to Saute'

That is the question...

Whether it is nobler to teach these beginners the full spectrum of the ballet experience and give them a hearty dose of petit allegro

or is it wiser to just let them struggle with the skills that keep them planted steady on the barre?

Okay, enough Shakespearean soliloquies... Of course I'll teach them the releves, sousous, echappes and changements... in rigorous long combinations... while they are facing the barre...so they are concentrating too hard to turn around and notice that I'm just counting and clapping the downbeat for them.

I can still demo a mean set of saute's -- feet fully extended off the floor arching and landing in nicely turned out and perfectly important plies... ONCE a Class period. And I can do it without seeming too winded... because afterwards I always walk over to start the music again and I always hit a couple of tracks or two forward or back so I have about 20 or 30 extra seconds of recovery time before I have to resume my counting and coaching.

How many different ways can you say "Put your heels down between jumps" -- but they don't believe it makes in difference...and as for those "tutus" jutting out at me when they do get the heels down... the squats and bends look more like NBA than ABT.

Probably important to admit that I know fully what I'm putting them through and I thoroughly love it. I chant continuously and throw in assorted comments:

Ballerinas are not wimps.

Tougher than it looks.

Yes, I know it hurts when you land on your own instep.

Still, I secretly wish I could twinkle my toes and dazzle them with a long and complicated petit allegro. I can envision myself still able to look good in pale pink tights, with a strappy camisole leo, perfectly curved arms and a knowingly inclined head...epaulment extraordinaire.

Nothing bouncing but a wisp of hair that delicately evaded an otherwise perfect bun.

Alas, poor Entrechat, I knew her well..

Because now jumping and landing, however technically correct, sends aftershocks rippling throughout my anatomy. Jello looks more stable than my decolletage despite my most restrictive, minimizing, supportive body armor undergarments.

Allegro skills demos are for the youthful and well conditioned sprinters of dance education and I have proven over and over that I am better suited for the long haul.

So I'll just continue my little game of "Watch me...Now YOU try it" and I'll take comfort knowing that in the morning I'll be a little achy...but these poor beginners' calves will be talking to them....and the message they'll be sending will be clear....

Wish you would have listened to the old Sugar Plum Fairy when she told you to put your heels down ... the old broad knows what she's talking about! All the world's a stage...and she's played most of the parts!

Light Bulbs in Dance Class

Pressure ain't such a bad teaching aid.

I found it telling that some of those perpetually late kiddos actually got out of the dressing room early so they could find the "good dancers" in the class to help them. I'm always impressed with how the ability to actually do the ballet barre combinations elevates the "social status" of some of the kids in class with those who would normally be the no-effort distractions...those girls generally too cool for dancin' school.

Wonderful transformation happening with a few of the students. A chance to talk philosophically for a minute, I can't get bored with teaching when I see a kid starting to realize she has control over her body. They'll never believe it is actually the power of the thinking brain that transforms the body into a more technically adept functioning machine... but maybe somewhere down the line it might occur to them. I think I might have made that stunning realization while doing Lamaze when I was in labor with my son....let's hope they realize it sooner and in a different setting. For me Lamaze class was just another vairation on modern class without the leo and tights and using Lamaze during birth was the ultimate improvisation...but I digress.

Back to those Dance 1 students...despite my foreboding predictions of what I might see and my general dismay during some performances the minute they started...I did see some improvement. I wish that somehow I could actually suspend a cartoon light bulb over their heads that would illuminate when they are concentrating and they execute a movement correctly. Then as they observed each other and themselves it would be as obvious to them as it is to me...many of these bulbs are burning brightly and the ones with the low wattage... they'll be up from replacement soon. If only dance class rosters came with spare bulbs like new packs of Christmas lights do.

I think the one thing I'd need to be wary of is that most classes' string of lights would be "blinkers" instead of "steady on" strands...but I think that's the nature of teaching after all.

It is up to us teachers to get them on the right setting.

All too Common Comments from Skills Test Grading and the Snarky Comments that aren't appropriate for high school rubrics but we wish they were

Pop Demis -- No, this has nothing to do with Disney Teen Stars -- you are droppin' and poppin those demi plies and it ain't cute

GP2 -- grand plies in Seconde' aren't supposed to look like you are a) practicing weight lifting squats or b) attempting to tinkle in the woods

Knees Fwd -- You've got to open up those thighs and make them move outward...ballet class is one of the few places you'll ever be told to do this in polite, civilized company.

Heel Lift -- I am pretty sure you have no idea that your foot is even back there...but at least try for a little kinesthetic awareness and keep it on the floor in your 3rd or 5th Demi Plies

LB -- Lower Back not Elongated -- Too bad you haven't improved with age like fine wine, expensive cheese and your dance teacher because if you had -- you'd have a "Flatass" too and you wouldn't be getting this comment (see previous post)

Abs-- Are you aware that they might look better if you pulled them in? Or have you been desensitized to the unattractive look of your belly button hanging out over the top of those low ride jeans you wear? (Overly Harsh Companion comment -- Try wearing Granny Panties for a week -- it'll teach you where your waist is and how much you've got jiggling below it)

Ribs -- pull 'em in and back in line with the rest of your body... if you want to call attention to your bosom learn Victoria's Secret and you'll find that she's never been known as a famous ballerina

Dead Arm -- I know the leaves are falling off ... but I don't want to see that dead tree limb drooping from your shoulder

And that just gets us through the plies....

The under appreciated tendu and its equally undervalued cousin the degage

So today was all about feet.

I found myself saying over and over "full foot working into the floor" followed by "full extension of your ankle" and then "stretch to the tips of your toenails" and still the lazy feet slid back and forth from less than rotated first positions, knees slightly buckling on the way out or on the way in, oblivious to my constant chanting of "straight leg out, straight leg in."

And the we moved to the degages -- "Is it about lifting the leg up or arching the foot?' and they reply with their voices in tired unison, "arching the foot" and so I beg them -- then show me with your feet.

I shouldn't really blame them. I was in college before it honestly dawned on me that working the foot against the floor would create strength and shape in my feet. Still I wonder, shouldn't being told this day after day appeal to them to work it if for no other reason other than to hear me say something else?

You know I get lots better releves from them when I conjure up images for them to use of themselves in really fine high heel shoes...

I just don't think the careless flip-flopping walk they do is going to create a really fine degage --

The value of tendues and degages must be something we learn to savor and treasure as we get older...if youth is wasted on the young...then "foot action" must be too.

Now you'd really have to be a hard core dancer teacher to appreciate that one.

Are grande plies worth the trouble?

I just spent an entire day watching beginners do grand plies... needless to say, it was ugly.

I spent over a week correcting their demi plies. Transfer of knowledge? In all our dreams fellow teachers...the minute it went past the point of comfortable it became something different entirely.

One problem is evident-- if you ask them to do a port de bras with a plie...it is over. The bottom goes back and the ribs shoot forward and they suddenly plummet to the depth of the plie with the wild abandonment that only a group of 14 year olds can muster. They have no idea what their knees will feel like when they are 45 and have been doing these moves regularly for twice as long as most of their of their teen idols have been alive.

and the ascent... Oh help us all... What happened to the dignified ladies standing at the ballet barre? Gone the minute they recognize the drop move and its potential video vixen movement -- they suddenly slam the knees forward and rooooolllllll on up with more articulation in their spine than I will ever get from them in modern class.

I don't know why I worry...about their knees or their dreadful grand plies. It isn't likely that any of them are going to decide tomorrow to be prima ballerinas. Its more likely their dancing will remain "recreational" for the rest of their lives.

Still I worry, what if they tell someone I was the one who taught them to do those deep knee bends like that? I guess it might just be an opportunity to change my image.

Day One

Sore feeet