A few weeks ago I posted a Technique Tuesday about pelvic alignment for plies in first position. You can review it here.
This Tuesday's tutorial is super short. Everything from the first position plies apply.
Pull the belly button towards the spine Feel the glutes "wrap around" and
gently squeeze
As the knees bend,
imagine the back of the pelvis is sliding up and down an imaginary wall.
Knees stay opened
out over the tops of the feet.
As you straighten
the knees, feel those glutes do that wrap and squeeze.
Because second position puts you in a wider stance, it gives a great opportunity to feel those thighs stretch out to the side, making sure to keep those knees over the feet.
In the video I start off by showing the pelvis out of proper alignment for plies, by showing the hips go behind the feet. When doing a squat you want the hips to go behind the heels, but not in a turned out plié.
Doing properly aligned plies in second is, of course, a necessity for classical ballet technique, but it is also a great move to add to any fitness regiment where you do squats. I'm a big fan of the squat. I do them all the time and I have my young dancers do them as well. Knowing how to properly align the pelvis for various moves can only make you stronger and more agile.
I used to attend Pilates Mat class pretty regularly. Between changes in my schedule and life in general, over the last few years I haven't gone as much. I incorporate many Pilates exercises in what I do with my teen dancers and last summer I had the opportunity to sub a handful of Pilates Mat classes. I still sub here and there. But teaching isn't always the same as doing. Even though I frequently do the exercises along with my students and attendees, the focus is very different. Because I'm cuing the breath patterns, for me at least, means I'm not fully utilizing the power of the breathing patterns throughout a given exercise. Which is kind of ironic, since aside from the close relation to movements found in Ballet technique I was drawn to the art of learning how to breath through movements that is an important aspect of Pilates training.. Breathing was always something I struggled with as a young dancer. It wasn't long after my fourth kiddo was born that I started Pilates. At that point in my life I realized that by midday I had usually replaced breathing with hollering. So learning how to breath through movements, especially during the most strenuous parts, was a sort of awakening for me.
So with all that said, when I slip into a Pilates class I usually get my butt kicked in some fashion. In a good way of course.
In between subbing some classes the other day I was able to do just that, and catch the second half of a Pilates mat class from one of my favorite instructors, the lovely Amy. I always learn something new. Whether it's an exercise or a new layer of technique revealed.
Before attempting these, or any exercises for that matter, make sure you are warmed up. Don't go into them cold. Do some squats or jog in place for a bit to get heat to your muscles. Push ups are a good body heater upper. One of these days I will post some quick warm ups.
"Swim" is not a new mat exercise to me, but this particular combo was.
Laying prone (stomach down) on the mat, legs parallel, feet pointed. Arms lengthened overhead. Core, as well as quads and glutes engaged. Shoulders pulled and set down away from the ears.
Inhale; lift and lengthen R leg and L arm. Hold for 2-3 counts.
Exhale; lower
Repeat other side.
Go through that 2-3 more times.
Then stay on one side. With the breathing pattern lift and lower just the R leg/L arm.
Repeat other side.
Repeating on just one side made me see where I had to fire up a bit more on the supporting side of my body.
"Grasshopper" was completely new to me.
Laying prone on the mat, legs are straight and about hip width apart. Feet are pointed and legs are turned out (insides of the thighs should be rotated toward the ground and heels are touching). Place hands under forehead, hand over hand.
Inhale; keeping the front of the pelvis pressed into the mat, lengthen and lift the legs, keeping them straight and feet pointed.
Exhale; using 3 short, quick exhalations, flexing at the knees, cross and gently beat the ankles R L R.
Inhale; straighten the legs, still lengthened and lifted off the mat.
Exhale; lower legs to the mat. Control the movement so the legs don't just fall to the mat. Keep the pelvis pressed to the mat throughout the movements.
Each repetition change the pattern of the ankle beats. So the next one you would beat L R L. Do a 3-5 sets.
I had a pictorial breakdown of keeping the knees level, but I just couldn't reconcile the "crotch head on" angle. The words below are much better!
So what I loved about this exercise was the focus on the knees. During the beating action of the ankles the challenge is to keep the knees in their exact spot from the leg lift. This requires stabilizing the hip, pelvic and glute muscles, while simultaneously isolating the lower legs for freedom of movement. Try to keep the knees at the height of the initial leg lift and level, as if they are set on a tabletop. For me that's the sweet spot of this exercise. Feet staying pointed keeps everything from head to toe engaged.
I instantly saw a dozen ways this exercise could shed light on aspects of Ballet technique, as well as muscle and movement control through a sequence of movements.
This next bit isn't necessarily an exercise as much as it is a reminder of proper placement.
When on all fours (think "Cat and Cow"), it is important to maintain hip over knee/shoulder over wrist alignment. It's all to easy to stray a little out of proper placement, as I was reminded of the other day. Oh, it's those tiny layers that can be so grueling. But oh so important to go back to and review!
The problem is shifting, even a small amount, of the weight from a neutral tabletop position to one where there is too much weight into the arms and wrists. This happens when the hips are shifted in front of the knees.
I don't know if you can tell from the picture, but my hips are not aligned over directly over my knees, and I'm straining in my arms because of to much weight shifted into them.
Here my hips (from the point of where the hip joint is and not my booty) are better placed over my knees. Less strain through the arms and better alignment over the wrists.
Using a mirror can help with set up, then internalizing the feel of proper placement so the image in the mirror becomes an image and feeling in your "mind's eye". Then of course, checking in with your technique, as I discovered, is important.
...last week. What is normally a teen/adult beginning Ballet class w/ an emphasis on fitness that I teach on Wednesday evenings, got a make over as a Balletone: Sole Synthesis class.
It is a fitness program that uses dance-conditioning methods of ballet training, as well as principles from pilates and yoga to build strength, flexibility, core strength and cardiovascular conditioning.
Here's a video snippet with the owner of Balletone, Shannon Fable.
So that's a little of what it is. How is it different from some of the formats or movement methods that it incorporates?
Ballet;
Balletone is done in the center of the room, no barre exercises, where as a traditional ballet class would employ both. In ballet training there is a great deal more verbal explanation, demonstration of a combo, execution of the combo by students, then back to more explanations and demos. Stopping and starting. Because many aspects of ballet technique can be somewhat challenging and precise, time is needed to adequately explain. That's not necessarily a negative, at least I don't see it that way. Its just a reality, one that has to be weighted against what one's goals are.
Balletone utilizes many of the foundations of ballet; maintaining proper alignment while executing plies, tendus, lifting the leg front, side or back (arabesque) in a turned out position, passes and lunges. As well as engaging multiple muscle groups in a sustained, lengthening manor, coupled with full range arm movements. All while staying in constant motion. That's why it great for seasoned dancers too!
Pilates;
Balletone is off the mat. It is started from a standing position. Barefoot training and awareness is an important aspect of the Balletone program, regardless of which format (Sole Synthesis, Standing Flow, etc.). Keeping control of the core, while sustaining the recruitment of engaged muscles through movements is a key concept in pilates. This key concept shines in Balletone!
Yoga;
I've taken just enough yoga to know that it is no joke when it comes to strength, control, flexibility, physical and mental endurance! I'm falling madly in love with it! There seems to be an endless supply of challenges gracefully and politely waiting for me to peel back the layers of. While at the same time providing me with an opportunity for introspective thought in both body and mind, and a chance to replenish. Whew, yoga and I just had a moment...
In the Balletone: Sole Synthesis format, the yoga-inspired movement sequences provide a shift in movement and intensity, but not a rest. An important opportunity is provided to stretch and further internalise to prepare for the next set of challenges.
Cardio;
You are constantly moving at a low-impact, mid-range intensity (hills and valleys of exertion) throughout a Balletone workout. Mid-range cardio is a cardio intensity level often overlooked.Think something between a brisk walk and a Zumba class. Invigorating as well as challenging.
What kind of footwear does one wear for Balletone? None!
Interested? If you are in the Chico, Ca. area come check out my Wednesday 6:30pm Ballet-Fit class (perhaps soon to be Balletone exclusively) at Kinetics Academy of Dance.
