Teacher: "Your double pirouettes are perfect. If you would use your eyes, you could easily turn quadruples!" Never mind the disclosure of the benefits of spotting, it´s the word perfect that is still ringing in my ears. I mean how often do you get to hear that word in ballet class? Like never is how often! Now, I´m not experiencing sudden delusions of grandeur, rest assured. I´m perfectly certain that there was still room for improvement. For one, I did not snap-spot my turn. And I´m pretty sure Madame would have said to turn out my heel even more. But the turning itself.. You know that feeling, when you are perfectly centered and turning around your axis like a big spinning top?
It´s plain awesome.
I love pirouettes. I love watching a good turner, I love practising turns. Even when they tilt, fail, crash and burn. Something about pirouettes just makes you want to get back on the horse´s axis right away. There is always another chance. Like spinning the roulette. But pirouettes are not about luck. All dancers know the technique involved. The required plum line, the strong core, the preparatory deep plié, the pushing down to get up, the arms that close, the instant pose. I know this too, and still my pirouttes fail me far too often. My triples, they come and go as they please. As for those quadruples - I could possibly crank one out if my life depended on it. Or if it would get me backstage at Kings of Dance.
I´m not a bad turner. I do, however, suck at spotting. So far I have managed to turn without, but it doesn´t look as neat. And there are apparently limits to the amount of turns you can do without spotting (unless you´re on skates). I can tell you I have practised a lot. A lot lot. Spot - turn - spot. We have been doing this beginning exercise in class where you stand in 6th, and keep shuffling around with the focus on your spot-snapping head. I have repeated the same exercise at home. It´s the same as in the video above. But when I get to the actual pirouette, my head somehow refuses to spot twice. It´s like it has a mind of its own.
Maybe the problem is my eyes. I´m nearsighted, and wear neither contacts nor eyeglasses to class. By the way, that´s what still keeps me looking young in the mirror. In-built soft-focus lense - smooths away wrinkles like no botox does! Maybe that is not the problem either. I can see both the trees and the forest outside my window, so I should be physically able to spot a spot in class, right? Perhaps I just have slow eyes. Maybe I´m too much of a dreamer. Lots of maybes going on here.. But, it´s one thing to let go and have the music carry you to new places. It´s another thing to maintain control at the same time. Turning is not about letting go. You have to take charge, be the boss of your pirouette. Decide beforehand whether you want turn once, twice or thrice. See yourself turning - and always finish in style!
Occasionally I succeed and all the x-factors come together to produce one super pirouette (for my own standards, mind you). In Berlin I did a triple from fifth with arms en couronne, and it was sweet! In Madame´s class I once did a 3,5 turn - we were supposed to finish facing the other corner and I had too much speed going. So I let it turn. There is definitely potential for more. Maybe even those quadruples. I just need to keep my eyes on the prize.
It´s plain awesome.
I love pirouettes. I love watching a good turner, I love practising turns. Even when they tilt, fail, crash and burn. Something about pirouettes just makes you want to get back on the horse´s axis right away. There is always another chance. Like spinning the roulette. But pirouettes are not about luck. All dancers know the technique involved. The required plum line, the strong core, the preparatory deep plié, the pushing down to get up, the arms that close, the instant pose. I know this too, and still my pirouttes fail me far too often. My triples, they come and go as they please. As for those quadruples - I could possibly crank one out if my life depended on it. Or if it would get me backstage at Kings of Dance.
I´m not a bad turner. I do, however, suck at spotting. So far I have managed to turn without, but it doesn´t look as neat. And there are apparently limits to the amount of turns you can do without spotting (unless you´re on skates). I can tell you I have practised a lot. A lot lot. Spot - turn - spot. We have been doing this beginning exercise in class where you stand in 6th, and keep shuffling around with the focus on your spot-snapping head. I have repeated the same exercise at home. It´s the same as in the video above. But when I get to the actual pirouette, my head somehow refuses to spot twice. It´s like it has a mind of its own.
Maybe the problem is my eyes. I´m nearsighted, and wear neither contacts nor eyeglasses to class. By the way, that´s what still keeps me looking young in the mirror. In-built soft-focus lense - smooths away wrinkles like no botox does! Maybe that is not the problem either. I can see both the trees and the forest outside my window, so I should be physically able to spot a spot in class, right? Perhaps I just have slow eyes. Maybe I´m too much of a dreamer. Lots of maybes going on here.. But, it´s one thing to let go and have the music carry you to new places. It´s another thing to maintain control at the same time. Turning is not about letting go. You have to take charge, be the boss of your pirouette. Decide beforehand whether you want turn once, twice or thrice. See yourself turning - and always finish in style!
Occasionally I succeed and all the x-factors come together to produce one super pirouette (for my own standards, mind you). In Berlin I did a triple from fifth with arms en couronne, and it was sweet! In Madame´s class I once did a 3,5 turn - we were supposed to finish facing the other corner and I had too much speed going. So I let it turn. There is definitely potential for more. Maybe even those quadruples. I just need to keep my eyes on the prize.
