Time to Play

Pointe class. We're all facing the barre, doing really slow relevés. I let go as often as possible, because I like the added challenge of trying to stay in balance. Anyway, it's hard work and I'm totally focused, like there's nothing else in the world. My teacher approaches me to give a correction, or so I assume... Instead she tells me that I can now play with it, specifically with my head. I know she is talking about port de tête, or the carriage of the head, but I do not know what to do with mine during that particular exercise. Should I incline it, look left or right, or what? My sole focus has been on my feet, on keeping the popo in line, the back and neck long, the shoulders relaxed and myself breathing. It did not seem like playtime. But I did get the feeling that there has been some sort of achievement, and I was being challenged to step it up.

Later on, I got the feedback: there has indeed been progress. According to Madame, my dancing has improved. The port de bras is more confident, as is my overall technique. She even pointed out the alignment of the passé retiré I'm working on, telling me how much better it has become. I told her that I haven't really noticed. Which is not entirely true. I have noticed that my dancing feels different. Stronger, more balanced, perhaps even more fluid. But when you are not seeing yourself, how can you tell? Feeling good does not automatically mean that you also look good. Ballet can be tricky like that. Of course, there are some things which are more obvious. Like pirouettes. You cannot not know when you have turned three instead of one. You know when you're right on your axis, because it feels awesome. And you know when you've landed in style. Just as you know when you've failed. At my current rate, it's fifty-fifty. I get half right, and the other half is negotiable at best. Pirouettes tend to be a dealbraker for me. If I fail too many, class doesn't feel like progress. Yes, I know I'm giving way too much importance to turns. After all, our art is called ballet, not pirouette.

Then there are extensions. Why do we get caught up in degrees anyway? It might have something to do with all those sky-high extension you see posted and pinned on the internet. But bringing your leg into a developpé is dance, not a competition. It was already my first teacher who stressed the journey, not the destination. My current teacher speaks of caressing your (standing) leg as you bring the foot up. Then, raise the knee as high as possible (without compromising proper alignment), and draw a line with your pointed toes as you unfold your leg. The height of your extension is not the point, the quality of movement is. There's a bonus: quantity often follows quality. I've been told that my extensions have been getting higher since I started working with Madame. And this after dancing for twenty years! Funny how these things escape your attention...

So, what is next? We all know that ballet never gets easier, you just get better. For me, this means shifting my focus to the port de tête. My teacher knows that I get shy in class, which is why I tend to dance too much to the front, looking "flat" in the process. Now she is asking me to "play" with my head, and I have to admit that if feels more difficult than any fouetté pirouette I have ever attempted. At the same time, it's also way more exciting! Playing means there's room for self-expression, for making up my own mind (and head) about how I want to dance. Well, not in the sense that I get to change the exercises. I don't even want to do that! No, it's more subtle than that. Nuances and shades - that's what it is.

Now I just need to figure out what to do with my port de tête. I told Madame as much, that I don't really know (unless it's clearly part of the given exercise). She told me that if that's the case, I should just copy her. My dear readers, if you've ever seen our teacher dance, you know that is an near impossible task! Everything she does, looks natural and elegant. But I will try my best to absorb something and make it my own. I don't know what will come of it, but I want to find out. 

Stretch!

Had an interesting class last Friday. Was so tired my pirouettes were tilting backwards, ready to fall straight into bed. Never mind finishing class first. And of course our teacher chose that evening to introduce new divertissements. Fun and fast. Or was that fast and furious? I vaguely recall some seriously quick Bournonville-style steps.. The kind that require an alert mind and a state of wake-ness. Instead I was still trying to figure out my feet and counts when my teacher was yelling at me to use my port de bras too! Well, maybe next time.

Much more fun was showing off my seriously improved left-leg extension! First up, we did our usual foot-in-hand stretch (or talon à la main as Madame would say), and it´s been much better for some time already. I have been religious about stretching, which for a tight-muscled and jointed adult dancer is really de rigeur. A must.

Still, after having been at it for some twenty years - you´d think there would have been more impressive results already! Eight years ago (before my three-year ballet break), my best assisted extension to the side was probably toes level with chin. Don´t ask me about degrees, I suck at math. That gorgeous picture (ballerinaproject.com) to the left: add a long arm holding the leg and you´d get my picture (which is a pretty good picture). Since then, more progress has been made. Today, on a good day, my stretchier left leg goes foot-in-hand all the way up. We are talking about 10 minutes before 6 o'clock here. Seriously, I never looked at my ankle from that angle before. And I gotta tell you, it´s a whole new world!

Sadly, we all know that feet-in-hand do not neccessarily stay up without manual help. Usually gravity kicks ass as soon as we let go. However.. I´ve been building muscle for a long time. In fact, a bit too much - I bulk up very quickly. But, now it seems that strength and flexibilty are finally coming together! When I let go off my foot, the left leg stays up at the same heigt as the picture above. It´s a short but sweet moment, much better than my usual crashing down in the blink of an eye! On Friday, when we did our developpés devant into plié, my left leg rose and rose - and look mom, no hands! Of course it was no way near pro-heights, but I´m still very happy about my progress. My teacher noticed too. Now if I only could get my much tighter and lower right leg to follow suit..

Quite a few have asked me to share the stretching & extension magic. But what can I tell you? There really are no tricks and short-cuts. Also, I can only speak for my instrument - and we are all unique in our own little idiosyncrasies.. But what I can give away is this:

Be consistent. If you´re a tight bod like me (talking muscles and ligaments, not over-all firmness), you need to stretch on a daily basis. It does not have to be the same routine and intensity every day, but make a habit of stretching anyway.

Relax. Muscle tightness is often accompanied by tension. Do not force / bounce / jerk / push your stretches. Listen to your body, breath. Be calm and focused. Think long.

Warm up and loosen up. You don´t have to drip with sweat, but don´t stretch when you´re all cold and stiff. Go for a walk or a jog, do push-ups and abs. Loosen all your joints, from head to toe. Use a pinky or tennis ball on tight spots. Even massage the soles of your feet.

Try out yoga. You don´t have to get into the philosophy if it´s not your thing, but you learn many ways to stretch your body. Yoga also helps to get calm and centered.

Be patient. If you want to get into splits (still my holy grail with right leg in front), loosen and stretch everything else first. Be patient. Be consistent.

Check out these links and video for further help:

Improving Extension. Dance Magazine, 2008.

Ballet Shoes Pointe Shoes.. And Adult Ballet Class: How to Start Stretching..

Dance Advantage.net: Stretching Safely for Splits

Photograph: Ballerina Project, dancer: Irina. Photo: Dane Shitagi.