Group Ballet Classes and Private Lessons for Los Angeles Adults.

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TIP: ADAGIO BASICS

Adagio is as common a part of class as plies.  You either love it or you hate it, but do you know what it is?  Here is some basic information and tips about ballet adagio.

1. DEFINITION – Adagio means “slowly”.  Keep that in mind when performing these movements. They are meant to be slow and breathy.

2. KEEP MOVING – Even though the movement is slow this does not mean you stop when changing positions.  Flow from one position to the next like you’re moving through water.

3. FOCUS ON QUALITY – Don’t worry about the height of your leg.  Adagio is not about the height of the leg.  A beautiful adagio is beautiful because of the quality of movement.  As your flexibility and strength improve so will the height of your leg.  If you try to force your leg up, your hip will hinge up, your standing leg may bend, you might your torso will no longer be square, or a number of other things that will compromise your line. It’s more important to make a beautiful line at whatever level your flexibility will allow, and to maintain a fluidity from movement to movement.

4. BREATHE – This tip continues to show up because it is important to remember when doing any type of balletic movement.  As mentioned before, adagio is a breathy movement, and the best way to make your movement breathy is by using your breath.  Work with your inhale and exhale. For example, when doing a devlope inhale as you bring the leg to posse, then exhale slowly as you extend your leg out.

5. DANCE INSIDE THE MUSIC – Adagio for piano translates the same as it does for ballet.  The pianist or recording of music will be slow.  It’s a normal tendency to get ahead of the music when working at this pace, but fight the urge to hasten your movements.  You will build strength quicker by working slowly.  Sounds counter intuitive, but you’ll see.

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TIP: PROTECTING YOUR SPINE WHEN YOU CAMBRE BACK

Cambre means “arched”, and a deep cambre is a beautiful sight to see. Just remember when stretching your back in this manner, proper alignment is important for preventing injury.

1. KEEP SQUARE – Cambre back is meant to be performed straight back. Do not let your body twist. It is a common mistake to let the shoulders and hips twists. This happens a lot at barre when only one arm is extended, and your gaze is to one side. Focus on maintaining your square.

2. ENGAGE YOUR ABS – The “arched” position should come from your upper back, not your lower back. If you feel the stretch mainly in your lower back or feel those muscles pinch, you are most likely letting your back sway and your stomach stick out. Keep your abs and turn-out muscles engaged. This will allow you to rise up out of your hips and initiate the movement from your upper back.

3. STRETCH – Think about reaching and growing further with the arms and head. At barre we use cambre to stretch. When done correctly, cambre back should feel good. It’s a wonderful way to counter all those hours hunched at a desk or driving in your car.

4. INCREASE YOUR FLEXIBILITY – If you want to cambre further, you will need to increase your back flexibility. One way to accomplish this is to practice the cobra stretch from yoga. Be sure to keep your shoulders pressed down and keep your hips reaching toward the floor.

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TIP: Keeping the Pace in Petite Allegro

The moment the music starts for a petite allegro combination your body knows it’s preparing for a race. Here are some tips to keep up when the music speeds up.

1. KEEP IT SIMPLE – If the combination includes beats and you find yourself struggling to keep up, take out a beat or two. Similarly, if you want an extra challenge, switch out a soubresaut (jump straight up with feet together) for an entrechat-quatre (jump straight up beating the leg to the back and back to the front). Feel free to ask Mike for suggestions on how to simplify or add a challenge for yourself within a combination.

2. USE YOUR TOES – Roll through your foot and spring off your toes for each jump. If you do this correctly, your foot will be pointed in the jump, and you will really be utilizing your maximum push off the floor. Then, don’t forget to roll through the foot as you come down from each jump in order to protect your knees and back.

3. PLIE – Even though the tempo is quick you must push through your plie before and after each jump. Think of your body like an accordion where you have to push then release in order to make music.

4. UPPER BODY – Hold your upper body still (or in the appropriate position) with your eyes up away from the ground. When you’re moving so quickly, it’s important to really focus on an economy of movement. If you drop your chest or start wiggling your upper body, the movement will become unnecessarily difficult and sloppy.

5. BREATHE – Petite allegro can be very aerobic. Make sure you’re not holding your breath, and you’ll find the movement much easier.

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TIP: IMPROVE YOUR PORT DE BRAS

In class we focus a lot of attention on how we work our legs and feet, but when you’re on stage the audience is usually drawn to your upper body. This is why your port de bras or carriage of the arms is so important. A good port de bras requires an awareness of your entire upper body: arms, shoulders, back, abdomen, wrists, hands, even your fingers. Below are a few basic tips to help you begin to develop a performance-quality port de bras.

1. SHOULDERS – Keep them pressed down away from your ears.

2. SHOULDER BLADES – Always think of lengthening. You want your shoulders to be as wide as possible so you arms and hands can elongate further. Do not let your shoulder blades pinch together as it will create undesired tension in the arms and back.

3. RIBCAGE – Make sure your ribcage is not splayed out. Keep your ribs in and pressed down.

4. WRISTS – Never initiate the movement from your wrist. Also make sure it is not “broken”. A lot of ballet is about creating lines. If your wrist is bent, the line of your arm looks broken.

5. ARMS & HANDS – The placement of your arms and hands depends on the particular position. Different schools of ballet vary in height or curve of the arm, etc. Review the arm placement for first through fifth position. In class feel free to ask about specific positions for various movements.

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IMPROVE YOUR ARABESQUE

A gorgeous arabesque is less about how high your leg can go and more about how beautiful you can make your line. Keep these key body position tips in mind whether you’re at barre, in center, or on stage!

1. BACK FLEXIBILITY – The height of your leg relates to the flexibility of your back. In a proper arabesque your upper body should remain fairly upright. To achieve this you must have flexibility and strength in your back. Practicing a cobra stretch will help.

2. STANDING LEG – Everything in ballet is about opposition. If you want your arabesque leg to be strong and locked in place you also have to think about your standing leg. Keep it turned out from the top of the legs and drill it into the floor.

3. HIPS – Keep them square. If they open up as you lift your arabesque leg, evaluate your position. Are you forcing your leg too high? If so, lower it. Don’t rush, in time it will get higher. Or are you forgetting to work the hip of your standing leg in opposition? Keep the opposite hip pushed back by engaging your standing leg and working with your turnout.

4. TURNOUT – As you can see from the tips above, your turnout affects your body position in many ways. Make sure you’re always thinking about and working on the turnout in both your standing and working legs at all times.

5. CHEST – Keep your chest forward. The common tendency will be to drop the chest as the leg comes up. Don’t let this happen. Your chest needs to lift forward and up not down and out.

6. SUSTAIN – Now don’t move. Ever! Or just remember to breathe and hold the position for as long as necessary for the exercise, combination, or choreography.

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