Ballet Class Outfits: Make Your Own

The first time I made my own cropped top, I recycled an old pair of black leggings - but why stop there? You can find lots of leggings and tights in the sales bin; in colours and textures you would not normally wear. Like these pink lace leggings I just found for 1,85 euros. They look way too much 80's Madonna, but when you cut out the gusset and pull them over your leo - instant fun fashion update!

Tips and tricks:

• Recycle old tights/leggings. Ballet pink or white tights go great under leos for extra coverage & warmth.

• If you customize your top from new tights, don't spend a lot of money. The fabric will snag anyway.

• Don't buy the cheapest quality. Microfiber holds better, as does denier above 40.

• Buy a size (or two) bigger than you would for your legs. Makes for a comfier fit.

• Leggings come with pre-cut hand openings. ;)

• Hipster models are no good, they ride too high up on your torso.

• Necks are easiest to cut when there's a gusset to trace. Turn the tights inside out before you cut.

• Do not cut the neck like you would a cotton t-shirt. The fabric will stretch like crazy.

• Be careful when you pull your top over the first time, it will stretch. And it will snag.

• Hand-wash only.

• Have fun!

Class Outfits: Black and White

Sometimes I like to fall back on the classics. A simple white camisole leo, pale pink tights and a short black tulle skirt. Hair in a neat bun, polished off with hairspray. Classic ballet student. When I took this photo, both flatties and pointe shoes were still new, but they have since earned their class cred. The t-shirt was earned volunteering, but I usually loose any extra layers before barre is over. Too hot! By the way, have you noticed how ballet pink tights turn into a whiter shade of pale? And then look more white grey-ish than "natural" on your legs? Not that pale pink is a natural shade to begin with. Really, what grown-up woman would wear pantyhose in such a shade? But us ballet students do, that is when we are not in black leggings. Which reminds me I need new ones, all my tights have snags and holes. Not so classy..

Ballet Class, The Sequel

You recall how I wrote about having to cut over two thirds of my daily ballet? Even worse, looking at the months ahead, I have been thisclose to cancelling all my classes. As a fellow dancer, can you imagine anything more pathetic? While I've been working at improving my situation, many of you have supported me with helpful advice and sympathetic comments - and I give you my heartfelt thanks. You readers are awesome! Not everyone (outside of ballet) is inclined to understand the need for an adult recreational dancer to dance. I have been told that I will adjust, that twice a week is better than once, that once is better than not at all. That less should still be enough. Of course I can adapt, my life is not going to fall apart if I dance less - but why should I justify my want and need to dance more?

This is the time to dance. I'm still relatively young (dance keeps you that way), I'm in good shape and there are very few responsibilties to restrict my dance schedule. There's even time for other interests and activities. It's almost an ideal situation, and if it weren't for the "almost", I would be one happy dancer indeed. Here's another difference between us hobby dancers and professionals: the pros get paid to dance. Ballet class, rehearsals, performances - just like another day at the office, only not. I could be envious, but I know that being a professional dancer is one the toughest jobs out there. And even though it's hard work, this is rarely reflected in numbers. You're not going to make a lot of money dancing. Why then would anyone want to make a career out of dancing? I suspect it's the same desire that drives us recreational dancers to class after class. Dance is just plain addictive.

Coming down from daily ballet to twice a week has been hard. There have been withdrawal symptoms: restless feet and anxious dreams of missing class and not fitting into my leos or shoes. I have gone walking/jogging when I normally would have been in class, and I have done stretches and some ab work at home. But it's amazing how quickly you notice the difference! In just one month I have gone softer and less limber. Even my teacher recommended I should work out more to compensate for less class time. Yikes. The problem is, I don't really like to exercise. The gym is just not my place to be. Although, if it could be functional training to aid with my dancing.. That would be okay. ;)

NEWS! Since I started writing this (first draft was done a week ago), there has been a new development! I can't go into detail here, but it's safe to say that I don't have to quit dancing, at least for the time being. Even better, I get to dance full-time for the next two months! Daily classes! I don't know yet what happens after that, but right now I feel like I could grand jeté down the street. Which I might just do.

From Boston to Helsinki, with Love

Misa Kuranaga in William Forsythe's The Second Detail.
Photo by Liza Voll-Photography

Mind-blowing, breathtaking and beyond awesome - Boston Ballet came and brought the house down in Helsinki! For real, it was so good I wanted to cry. Jorma Elo is a genius, his Plan to B possibly the best contemporary piece I've ever seen. The choreography is as hard as it gets, and then some - but his dancers deliver - and then some! I'm now officially a fan of the gorgeous Whitney Jensen, and of both Cirios (Jeffrey and Lia). Heck, everyone who came to Finland and danced blew me away. The men were dazzling and strong, crazy with the jumps and turns. The women were powerful, limber and elegant - and equally crazy with the jumps and turns. What also impressed me was how well they all danced together. Such a fantastic ensemble!

The evening started when the Artistic Director of the Finnish National Ballet, Kenneth Greve, stepped in front of the curtain and introduced Mikko Nissinen of Boston Ballet. And here's a curious fact from my life: I have once been in the same ballet class as Greve and in the same class as Nissinen! I kid you not. The latter came to my old school's morning class sometime in the nineties (can't remember the exact year). It was summer, and Nissinen on vacation (he's Finnish, you know). Our 10 am morning classes used to attract a myriad of professional dancers who at the time didn't have access to company class. Anyway, I was fairly new to dance and blissfully ignorant. But I could tell the pro from the amateur, and when Mikko Nissinen took to the floor, you just knew. He was still turning when everybody else had already finished. Amazing control, and handsome too. ;) As for Greve, he once came to our advanced class at my current school. Usually you wouldn't expect the AD of the National Ballet to venture out of his company for class, but his wife Marie-Pierre happens to be our teacher. I have to say, for someone supposedly retired, K. Greve has serious skill! It was a bit distracting to be in the same class, but in a cool way. And he was very unassuming and friendly. Looking at the two directors on stage, it made me wonder how ballet is such a small world that even I could be connected by less than six degrees!

Still have all my old DMs. Should have gotten this signed!

I can only imagine how proud Mikko Nissinen must have felt yesterday. It was the first time that he presented his company Boston Ballet in Finland. You know, Mr. Nissinen was once considered for the AD's position at the Finnish National Ballet. In the end, I think that his management style and strategy came across as bit too tough for local likings. I don't know/remember for sure, except that company dancers have a say in the manner. But I'm glad he found his place in Boston, and he sure has made a success of it. As a fellow Finn, I admit to being a bit proud of his achievements! But there's no company without dancers and no dances without choreographers. And Boston Ballet's program delivered real treats.

First we got to see Christopher Wheeldon's Polyphonia, which struck me as an exciting hommage to Balanchine - whilst coming across as new and inventive. There were acrobatic elements which demanded extreme flexibility and strength, and instantly recognizable classical vocabulary. Both came together like they had never been seperate before. The music by Ligeti was challenging, but the various moods were beautifully illustraded in the dancing. Especially one pas de deux with blue back-light was so intense it made my arm hair stand up. Elo's Plan to B was next, and I already gushed about that. Let me say it again: wow.

Whitney Jensen and Jeffrey Cirio in Jorma Elo's Plan to B.
Photo by Liza Voll-Photography

Among the ensemble pieces we got to see a sole pas de deux choreographed by Helen Pickett, called Tsukiyo. The music was one of my favorite pieces: Spiegel im Spiegel from Arvo Pärt. Coincidentally, Wheeldon has choreographed his ballet After Rain to the same music. It was a lovely and delicate number, but somewhat overshadowed by the rest. The final piece was from Forsythe: Second Detail. Again, very powerful dancing and superb ensemble work, but the music was a bit taxing. Even so, it was one of the best dance nights I have ever experienced. It lifted my spirits and made me want to soar with those amazing dancers on the stage. This is why I love dance so much.

Dancing Along My Trail

You know the old adage about ballet being hard - but I can tell you it's even harder to go without. Staying at home, watching the clock, knowing there's a ballet class about to start that should have my name on it. Which is why I leave the house at the same time, and take refuge on my favorite trail by the shore. At first, my body still feels the rhythm of class, the tendus and pliés like a missing limb. I walk fast and let the sea breeze clear my head. I let the waves wash over fondues and battements, over barre and center. Before I'm half-way, I'm no longer miserable. There's a whole world outside of class, and it has the power to lift my spirits just as much as dance does. As long as I let go - for the time being.

I know I could eventually adapt to a life without dancing. Hey, I never danced for the first 21 years of my life - and those were some good times! Ballet is not my reason for living, and it is not my sole joie de vivre. There are more layers to me than tights and ballet skirts. Having said that, let me tell you this: I'm not going to give up dancing - ever. I can adjust to less class time. It just makes the anticipation for the remaining hours that much sweeter. Almost like waiting for Christmas, week after week. I can accept, albeit grudgingly, that there's going to be a (temporary) setback in my progress. I can live with stiffer muscles and less bounce in my jumps. It's not the best case scenario, but we don't always get what we want.

This has been my first week with seriously less dance. You might wonder why it's such a big deal to me, but the thing is I don't know how temporary this arrangement is. Do I get my old dancing life back next month or next year? But I've done okay. Jogging along my trail, I've let my mind wander freely - something you can't do in class! Funny though, more often than not, my head's been occupied with all things dance. I might think about a correction I got last time - how I should never mark with my hands when doing a pirouette on pointe. Must turn full out, in the correct position. Or I might savour the cool praise I got some weeks ago, about being "powerful". Or how awesome it would be to finally nail a clean triple turn, right in front of Madame... You can take the dancer out of class, but you can't take the class out of the dancer!

This evening it's class time again - and I'm already buzzed about it!

It's a barre - what else are you supposed to do with it?

Less is Not More

I was really looking forward to this dance semester. My dance school is offering daily ballet classes (Mon-Fri) at my own level, with all my favorite teachers. I was planning to continue with my Triple-Tuesdays, with technique classes backed up by pointe and even throw in some extra Sunday ballet at another school. Dance to my heart's content. But, unless current circumstances improve considerably, I'm forced to make drastic cutbacks on my dancing hours. I'll be lucky if I can manage two classes a week. I know it's not the worst case scenario ever, but it still makes me miserable.

We can't always get what we want - it's one of the earliest life lessons learnt. Adult dancers work, study, have families and budgets to balance. And unless you're living in Big City, daily ballet classes for adults are a rarity. You wish for more, but if all else fails, you have to settle for less. I have been here before. Back in my student days, I could barely afford the one weekly dance class. Fortunately, I had a teacher who gave me free classes in exchange for the occasional baby-sitting. And I was okay with less, as there was other stuff to keep me interested, busy and occupied.

It's not like ballet makes up my entire pie of life, it is merely a (very tasty) slice. But I would be lying if I didn't admit to the huge size of it! And it's not like there hasn't been an on-off relationship with ballet before. During the Big Break of 2003-2006 I didn't take a single class. This time around, however, stepping back does not feel right. For one, I'm in great shape and don't want to waste it. There is so much work to do, to learn and to enjoy!

Class Time

One class per week is an introduction, if you are new to ballet. Like nibbling on a bite-sized appetizer. You get a taste, but it's not yet time for the main course. If you have been dancing for a long time, one class per week is a reminder of what you're missing. It's also hard work, no matter what level you're dancing. Even if you stretch and work out, you're never quite ready for class. Arabesques - ouch. Jumps - where did all the ballon go to? But once is still better than never.

Two classes a week is just enough for minimal sustenance. It keeps the systems operational, without loosing bounce or closing the doors on turn-out. There's even the possibilty of progress, especially if you focus on quality. For me, this means working on my projection, on directing the eyes, using the head and presenting myself. I also need to fix the placement of my hips - I have this bad tendency of lifting my hip when the leg goes into retiré for pirouettes. There are of course many other things to think about, but it's easier to work on one correction at the time.

Three classes a week is where you move from maintenance to pushing comfort zones. Muscles start to respond better, strength, coordination and balance keep improving. Even if you haven't danced for long, you see visible progress. It is also the point where many start craving for more. That fourth class is just around the corner..

Four classes a week is where classes become a habit, a way of life. Ballet begins to take presedence over other ways of spending your free time. And you do not mind in the least. On the contrary, it is a joy to keep the motor running and yourself dancing. And your hunger keeps growing. Surely there is room for yet another class?

Five classes a week is where it seems there's no turning back. You're hooked on ballet. For professionals and dancers-in-training it's the minimum amount of class time, for you it's the ultimate in luxury. From five it's the shortest pas to six days and double classes, to obsessing about forwarded heels and attitudes, to thinking you can't live without dance. I have been there. I am here now. Knowing about all the classes I'm going to miss makes me sad. The fact that I don't know when things will get back to "normal" makes me miserable. But two classes a week is not not-dancing, and whining about it doesn't really help. I need to look at this positively. How do I turn less into a little bit more?

Pen on Paper, Foot on Floor

That's me, first day of school.

Looking back to my first day of school, it was not unlike switching from improvised contemporary dance to the discipline of a formal ballet class. But at least for me, school was not the end of freedom. I would roam about Berlin, climbing trees and ignoring fences - and then I would sit still in class, eager to learn and observe. I took to school like I would later take to ballet class.

Back in elementary school, we had classes for handwriting. My generation (and now I feel old for saying it) was still taught looped cursive, which has since become somewhat old-fashioned. We were given specially lined notebooks with three parallel lines for each row instead of a single line. Writing by hand, with ink, took a lot of disciplined practice. It requires hand-eye coordination, dexterity and developing a feel for the paper and pen connection. How much pressure to apply, which way to swing the tip so that ronds de main turn into o's and a's on paper. It was all about getting into the flow.

These days I mostly use keyboards instead of pencils. Compared to the elegant port de bras of cursive handwriting, it is all staccato and petit allegro. But the disciplined practice has not disappeared. Instead of a paper and pen, it has simply changed into feet and a floor. O's have become ronds de jambe, T's and I's degagés and piqués the dots on my i's. It is still a matter of flow, how to caress the floor and present your text/self. Music and choreography provide the framework, the lines in which to move. Letters become words, steps turn into dance. The blank page turns into space, waiting for us to write our stories. And just like our handwriting, each dance and dancer is unique.

I remember when I learned to read, how letters shaped into words that all of a sudden started making sense. It felt like something wonderful had been un-locked. All those words and books and new worlds for me to grasp and make my own! I'm no longer that eager, tree-climbing first-grader, but I'm still a student. Instead of a backpack for books, I carry a bag for my pointe shoes. Learning about arabesques, ballonés and cabrioles has not been unlike learning my ABC's. Ballet class gives me that same feeling of constant discovery and marvel.

What's In My Ballet Bag

You don't need a whole lot of stuff to dance. You need music. Some place where you can move freely. If you take ballet, a barre and a mirror. For clothing, something that's form fitting and comfy. For your feet either flatties or pointe shoes. I have on occasion managed to pack as little as one leo, leggings, flatties and a towel - and fitted all in my handbag. But usually, it looks more like this:

I have long hair, so I can't leave the house without my bunhead essentials: hair brush, pins, elastics, mirror and hairspray.  A small towel if I need to hit the shower afterwards. Antiperspirant. Lip balm, this one from Labello. My spikey pilates ball, and/or my trusted tennis ball. Good for kneading and rolling out tension in muscles and under feet. Rubber theraband for warming up. Water bottle is a must. I always carry a snack, either bananas or natural energy/protein bars like these. If there's pointe class, I can't dance without ouch-pouches. I also have a big-toe jelly tube in my bag, just in case. The ibuprofen is seldom needed, but I like to be prepared. Bunhead's stitch kit is handy for sewing emergencies. The nude coloured fabric medical tape works great for patching up canvas flatties! The ones shown here are still new, and travel along as a spare pair. All this stuff, and still not ready to step into class. No, for that I need an outfit like this:

The blue leo is from Bloch, as is the skirt. I wear my pink tights on top of the leo, which feels more comfortable. And it keeps that leo in place, no wedgies! On top of the pink tights I usually wear seamless black shorts. I like to wear another pair of black leggings for warm-up. These are old winter tights, which I cut off at the ankle. The pointe shoes featured are Bloch Balance European, and still fairly new. I've worn them for a few regular classes, just to break them in. The new flatties are Sansha Pro1 (my current flatties are too dirty to be pictured). Since this is my summer ballet bag, there are no legwarmers, wool socks or fleece zip-ups. Yesterday's ballet class was so ridiculously hot and humid, we all had sweaty rivulets running down our backs after first pliés! 

As for the rest, all you need to bring is yourself, your full attention and a happy attitude!

Summertime Ballet

My summer classes of late have been challenging in a different way. Our teacher keeps telling us to relax into more "natural" positions, not to push ourselves. I get the reasoning behind this: too much tension in the body (and mind) inhibits freedom of movement. That's why Silvia's barre is relatively short and not a developpé or grande ronde de jambe in sight. Fondues are not a separate exercise, put part of another. Frappés and petit battements are complex with quick directional changes, but easy on the legs. Still, I miss a doing a tougher barre. I like to work on achieving my own maximum turn-out, extension, pointed feet, long back etc. Not forcing anything, but for me barre has to feel like "real work." Not barre-lite.

Then again, it's summer. I could be taking a break from classes altogether. And although that barre has left me wanting more, center has been twice the fun! Silvia gives very dancey exercises, with emphasis on musical phrasing, eyes and épaulement, deeper pliés, rebound in jumps, and covering as much ground as possible. Less poses, more traveling steps, big faillis and contretemps, glissés, temps lies, continuous movement.. And there have been technical challenges. Ballonés with half-turns and battu, assemblés tournant with battu, cabrioles to the back, fouette jumps with beats. Double attitude turns finishing with soutenu, and straight into deboulés. Grand jetés italienne in manege. Tempos (or tempi) have been fast. It's been borderline comfort-zone, but that's the fun and challenge of summer classes. Different teachers, styles and new steps and combinations that throw you for a loop. Good for the brain and body. And I've made well on an earlier promise and resolution: to let go and enjoy myself!

Imagine You're On Stage, In the Bolshoi..

That's what our teacher Silvia told us to do. You can pick another theatre of your liking, say La Scala or Opéra Garnier - just make it a grand one. There has to be a third row balcony, because that's as far as you need to project your stage presence! You see, it's not enough to dance to the privileged viewers in first row. You want to dance to the ballet lovers who can only afford seats in the nosebleed section! The idea of dancing in the Bolshoi theatre made us all giggle, but everyone stood immediately a little taller. We might be just a bunch of adult dancers, but we can imagine with the best of them!

Personally, I've often found my imaginary audience to be a tricky one. When I look at the mirror, I try to think there's someone behind that looking glass - but I get quickly distracted by my own reflection. Even when I assume the standard poses, head positions included, the idea of "projecting" has yet to sink in. I suppose it's because a lot of confidence is required to present yourself in such an obvious way. But that's ballet for you.

I remember when another teacher told me to look into the direction of my hands, but not at my hands. Like when your arms are up in fifth/third/couronne - they have to be in your line of vision, but without craning your head. Or when you do an allongé - the head is turned towards, but the eyes don't linger on the wrist or fingers. Simply put, elongating your lines does not stop at the body. The eyes will take you to third balcony and beyond, as far as you want to dance.

See you at the Bolshoi! ;)

Class Outfits: Très Pink

We have no dress code in my dance school. Anything goes as long as it's form-fitting and class-appropriate. Not that I would mind regulation wear, but it's much more fun to choose your own style!  I like to mix it up: pink tights, purple leggings, black cut-offs on top of pink tights, shorts, skirts, long-sleeved tees pulled down and tied as skirts. Leos in hot pink, jade, lilac, black, red and white. Self-made tops from leggings and tights, preferably in funky colors. T-shirts with ballet logos/prints. I might even wear the occasional fake flower in my hair!

Today, I feel like pink.

Hot pink leo from Bloch, skirt Designed by Alice, tights Plume, slippers Sansha Pro1, pointe shoes Bloch Balance European.