Thursday, February 25, 2016

Pointe Shoe Questions Answered and 24 Pointe Shoe Videos (Fittings and Tips)

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We asked you for some pointe shoe questions on Facebook and Instagram a while back and here are the answers from Josephine Lee . Josephine owns and operates Dancer's Choice Irvine and The Pointe Shop. She is passionate about helping dancers find their "perfect shoe". Be sure to visit her blog at http://thepointeshop.com/blogs/news .




Q: I have a student who has been losing toenails from her pointe shoes. One brand caused her pinkie toenails to fall off and one brand cause her big toenails to fall off. What would cause this and what should we look for in her next fitting. Thank you!
Nicole Madden with Springs Dance in Colorado Springs, CO. 

Josephine: Ouch! This is a very common injury. The most common cause for bruised toe nails is an ill-fitting box. If the box is too tapered for her feet, it can cause the pinky toe nail to bruise. If the box is too wide or too broad at the platform, she can bruise her big toe nail. The best thing to look for at your next fitting is the shape of the box. Make sure it matches the shape of her feet.

Q; What shoes are best for low arches?
Linzi Glitter


Josephine: Low arches can be frustrating, but you can find pointe shoes that can assist you. Look for a softer shank and a pre-arched model.  This can help you get over your platform and help you articulate your feet a bit easier. Make sure the softer, pre-arched model will still be able to support you en pointe. If it is too soft, it can be wobbly! 

Q: I have high arches and wide feet too and I have been wearing Gaynors (with a hard shank), although I would like to know how long they should last me because I feel mine are dying super quick... Hannah Nicole (Lovehannahnicole)
Josephine: Lucky you! High arches are a gift, but the price you pay is… well… pricey. Gaynor Mindens are the longest lasting shoe on the market, so you are on the right track. It will be difficult to find anything that will last longer. However, you can do a couple different things: high arch and a flexible feet tend to be a bit weaker (not always, but often). If you can strengthen your feet with lots of barre and theraband exercises, you will be able to support yourself with your feet muscles rather than relying too heavily on your pointe shoes. This way you can make pointe shoes last longer. The second option is to special order your pointe shoes. Gaynor Minden offers a double shank option. This will take a bit longer to make, but it will be worth it!



Q: How can you figure out what kind of platform you need, and how tapered you need your boxes? Balletpeace

Josephine: The size of the platform is generally dependent on the shape of your toes. If you have wider toes, you can wear a wider platform, if you have tapered toes, you usually need a tapered box. How well you balance, how compressive your feet are and what kind of toe pads you wear may also contribute to this question. The best way to find out is to try on and experiment with different shoes. 

Q: How can you fix your pointe shoe from coming off of your foot and how can you figure out what platform that you will need and how tapered you need your boxes? livi.drane

Josephine: It is probably the most annoying thing to have your heels slip off during dance class or worse, during a performance. This is a common yet difficult problem to solve. However, there are a few tricks that may help you. 1. Wear stirrup tights. When your heel is exposed, the shoe grips on to the skin much better than tights. 2. Rub rosin on the back of your tights. This will also have more friction to help keep the heels up. 3. Wear tighter shoes. This may be a bit uncomfortable, but typically if the shoes fit tighter, it stays up a little easier. 

Q: What is the best brand for beginners and how do you choose? Demmerpinkbritain

Josephine: There is really no such thing as “beginner” shoes (unless we are talking about demi-pointe shoes). Each brand and model can be worn by beginners to professionals. Beginners tend to wear shoes that are softer so they can articulate at the barre, but once they go into the center, they need the extra support. The type of shoes you wear all depends on what kind of feet you have and what you need help on. 

Q: I just got my first pointe shoes, any suggestions on how to break them in or sew them? Tessa_yuzda

Josephine: I would stay away from modifying your first pair of pointe shoes too much. It is OK to gently bend the shoe at the arch or softly press down on the box if you need a little bit more comfort, but a well-fitted shoe should be fairly comfortable. For your first few years en pointe, you should just allow your feet to naturally break in the shoes. Over the years, you will learn what you specifically need to modify and make your shoes feel best. Modifying shoes can shorten the lifespan of a pointe shoe so be careful when you start. Pointe shoes are highly individual. You will learn your own preferences on how to break them in and where to sew on the ribbons and elastic throughout your dance career. It is definitely a journey. Enjoy it :) 

Q: How to properly jet glue almost dead pointe shoes? Mia__andrea

Josephine: The best time to jet glue your pointe shoes is actually before you start to wear them. It gives the shoes the support you need and breaks the shoes down slower. As the shoe breaks down more, you want to add a little more at a time. When you jet glue a dead pair of pointe shoes, it gets into the cracks and it doesn’t do much to harden them. 

Q: How do you know when your shoes are dead?
Ballerina.zoe

Josephine: Pointe shoes die in different ways depending on the dancer and the type of shoes. When the shoes start to die, they may pull the dancer back, push them over or feel like they’re sinking. The shoes may also break in different places, such as the box or the shank. When the shoe starts to die, they will no longer support the dancer’s feet and ankles and will feel unstable.

Q: I have high arches but my shoes are never flexible enough to show them. What shoes are good for high arches and wide feet? Cocaboba


Josephine: If you have high arches but feel like your shoes don’t show them off, your feet are most likely bending in your pointe shoes without bending the shoes. The best way to show them off is a ¾ shank. This will allow you enough support in the metatarsal but will bend where your feet arch so you can show off those pretty feet. If you’re wide, try a Suffolk Spotlight. They have wider options as well as a ¾ shank ☺

How to 3/4 shank your pointe shoes



Check out some pointe shoe fittings on my youtube channel (12 videos) - xo Robbie




Bonus - 12 videos with pointe shoe tips from MyDanceTv




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Saturday, February 6, 2016

Prix de Lausanne 2016 Live Stream Compilation and Winners plus Diana Vishneva Flashback

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Enjoy!! 

 Live Stream Day 1 Feb 1




Live Stream Day 2  Feb 2



Live Stream Day 3 Feb 3

 

 Live Stream Day 4 Feb 4



Finals Live Stream Day 5 Feb 5



Spoiler alert winners are below these two videos of Diana Vishneva at Prix de Luasanne! 

1994 Coppelia: Swanilda




1994 Carmen




Fast forward to 2013




Prix de Lausanne WINNERS 2016
 
Hang Yu Age 16 China (Shanghai Dance School)
Video from May 2014 - will post Prix videos when available. 



Madison Young Age 17 USA (Houston Ballet Academy). The only USA candidate to advance to finals!

copyright Houston Chronicle



















Vincenzo Di Primo Age 18  - Italy (Vienna State Opera) Awarded Contemporary Dance Prize
Video from June 26, 2014  - will post Prix videos when available.



Leroy Mokgatle Age 16 South Africa (Art of Motion South Africa)
Awarded audience favorite. 
Video from Cape Town 2014 - will post Prix videos when available.


Laura Fernandez Age 18 -Switzerland- Best Swiss Candidate and Contemporary Dance Prize  (TAZ Tanzakademie Zurich/Vaganova Ballet Academy St Petersburg)




Junnosuke Nakamura Age 16 Japan (Acri-Horimoto Ballet Academy)

Dingkai Bai Age 16 China (Shanghai Dance School)


Prix Jeune Espoir

Danbi Kim Age 15 South Korea (LeeWon-A Dance Academy)
Video 2015 Seoul - Junior Ballet 1st Place



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Monday, February 1, 2016

All Things Tutu for Tutu Tuesday on 2/2!

Instagrammers:   If you are on Instagram hashtag your favorite tutu photo of you or anyone #balletfreaktutu and tag @balletfreak (do both) and I will pick a winner from each platform and give them a shout out on my Ballet Freak Instagram Wednesday (Over 28k followers).


Tutu worn by Margot Fonteyn in Swan Lake , 1964

Happy Tutu Day!!! A whole day dedicated to all of the incredibly beautiful tutus throughout the ballet world. From romantic tutus in Giselle to pancake tutus in Swan Lake, they are one of the major things that makes a ballerina a ballerina.

I personally love the tutus that are slightly droopy, such as the ones from LeCorsaire. I also love love love the red Kitri tutu. It's impossible to choose a favorite. 

My friend Juliette Bosco (Ellison Ballet) in her Kitri tutu. 


Svetlana looking stunning, as usual, in her Kitri tutu. 

 The amount of hours of detail and work that's goes into making a tutu so stunning is incredible. It can take take up to several weeks to complete a tutu and can possibly cost up to thousands of dollars to create. It really depends on the role, ballet, and the company. 
Pharaoh's Daughter tutu. 

Tutus originally started very low to the ground, like romantic tutus. In the 16th century, skirts were brought above the ankle, which was a shock to most people back then! They were originally created shorter to work on footwork. Marie Camargo (Paris Opera Ballet 1726) was known for making the above the ankle skirt more well known.

In 1832 the first romantic tutu to be worn on stage was worn by Marie Taglioni in the production of La Sylphide. This was performed at the Paris Opera. 


In the 19th century, Italian dancers began wearing shorter skirts that came just below the knee, more like romantic tutus. It eventually evolved into the pancake tutu which shows off the whole leg. 

In the pancake tutu everything is seen! All of your technique is shown, which is kind of nerve racking, but it can create such beauty when done and worked with correctly. 

The first time I wore a tutu it kind of threw me off a bit. Obviously it adds a different weight to your dancing in pirouettes and jumps. You are to change the movements of your port de bras slightly due to the placement of the tutu. 

Romantic tutus were created to give the illusion of lightness and a floating sensation. You will see these tutus in the ballet Giselle and Chopiniana. 

Photos from Het National Ballet. 


Could the tutu die out? Apparently there is a shortage of costume makers! Stitchers work behind the scenes and often go with out much credit.  “A good opera house seamstress has the same skills as a surgeon, it’s just that she’s lower-paid.” Opera Philadelphia’s costume director Millie Hiibel . Hopefully someone reading this blog is the next Karinska or Miro. We need you!

 Costume for Ballet Imperial, 1964. Via New York City Ballet by Barbara Karinska


Costumes de Barbara Karinska – Coppélia (acte 2), Coppélia (acte 1)



Couture Tutu! This costume was sold by the New York City Ballet. (c) NYCB



Joan Miro (1895-1983) - La couleur des rêves


Karinska Ballett-Tutu 10413




Ballet:Sleeping Beauty Rudolf Nureyev after Marius Petipa CHOREOGRAPHER: Rudolf Nureyev after Marius Petipa DESIGNER: COSTUMER: Nicholas Georgiadis PRODUCTION DATE: 1989 PRODUCED IN: Opera / Garnier, Paris Opera National de Par: Elisabeth Maurin. 

Flowers II © Anne Deniau. Paris Opera Ballet, Amandine Albisson in "La Sylphide” rehearsal
 


Thanks for reading and Happy TuTu Tuesday on 2/2 !

xoxo,

Robbie


Sunday, January 10, 2016

Ellison Ballet Winter Showcase

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Two weeks ago we had our Winter Showcase. I was sooo excited to finally be performing with Ellison Ballet!! It has been my dream since I was 13 to attend the year round program. I have been to NYC every summer since I was 12 and it is my home away from home. I always wanted to watch and be in the showcase but it was not doable for me until now.

Me and Ashlyn Mae. 

I performed in Napoli Pas de Six, Napoli duet, Waltz of the Flowers, and Don Q Coda. I was originally supposed to perform Swan Lake Pas de trios variation and coda, but I was injured and not able to perform the variation :( I'll explain this more in another blog - possibly a posterior ankle impingement. Not sure exactly. So disappointing. But this is part of life as a dancer.

A selfie I sent to my Mom when she asked how I was doing. =( #disappointed 



Overall I was happy with how the shows went! I think we all worked really hard in the rehearsals leading up to the show. Not only that, we took notes and reviewed the corrections with everyone else in the pieces. I think really working together after class especially for Waltz of the Flowers, helped us improve more. (Along with rehearsing it in the studio)

Me and Claire Wilson

For Napoli we got to work with Ms. Karina Elver. She stages Bournonville  pieces on companies around the U.S. She just recently staged a Bournonville piece on Colorado ballet. I loved working with her! She has such great energy! I also loved being able to work on the Bournonville style. It requires a lot of detailed footwork, which is always something to continue working on. It is basically the unfiltered 19th century technique of the French school of classical dance. (https://en.wikipedia.org/wiki/Bournonville_method

I performed Napoli in the first show (Friday Night). I think it went pretty well overall. I felt some shaky parts but I think for the most part we kept the energy through the whole piece. I had a lot of fun performing the duet with my friend Claire. It was originally a solo variation, but Ms. Elver staged it as a duet. The two girls were very playful with each other, it was kind of like a game. The beginning kind of felt like a game of who could balance longer. Claire and I had a lot of fun playing and working with this piece.

This whole dance requires a lot of stamina, but especially the entrance part. It has a lot of big jumps in it. When we would rehearse it we would run the entrance section over and over again! Definitely good for the lungs! The best is when we went straight from pas de trios rehearsal into Napoli! The lungs were really burning by then! In a way it's a great feeling most dancers will understand. ;)

Gloria Benaglia, Gillian Fitz, Ashlyn Mae and moi

So I was originally supposed to perform the second Swan Lake PDT variation and coda....but I got injured 3 weeks before and wasn't able to rehearse the variation. Yes, I was able to make it through my other pieces with my biscuit foot. Mostly everything was painless on pointe for some time. This variation had toe hops in the beginning....those would hurt sooo bad with my injury. :( Stay tuned for a blog about my foot update.  I was still really happy I was able to perform the other pieces. 
Everything happens for a reason. With this injury I was able to focus on other things during class, such as my alignment, and Ms. Forrest said that had improved in the last few weeks. She said that in a way this is sort of a blessing in a disguise.


The last piece I was in was Don Q coda. This was just the coda at the end of the show after Theo and Juliet's pas. I think everyone worked so hard and performed beautifully! Congrats to everyone! Xo


With Taylor Lim

A little bit about theater week:

Starting the Wednesday before the show we had two full run thorough in the theater at MMAC. ( pretty similar to the one we performed in at Alvin Ailey.) Each day we had two full run throughs, because some pieces had two casts. For the second run throughs I did it on flat and tried to do mostly everything full out. I still wanted to be able to perform in the show, so I didn't want to over push it at the time.

After these run throughs we would go over notes with Ms. Forrest and Mr. Ellison. For the people in Napoli we would go over notes with Ms. Elver.


With Alejandro Andrade and Taylor Lim


Thanks for following the journey!

Love, Robbie














Sunday, November 29, 2015

Sylvie Guillem - A Life in Progress

Speechless.

On Saturday September 14th,  I was lucky enough to be able to see one of Sylvie Guillem's final performances ever!! I went with a few of my friends from Ellison Ballet. This show was her last performance in the U.S. I am a huge fan of her as a dancer and also as a human being. Sylvie is also a big supporter of Sea Shepherd, a non-profit that defends the oceans, and she is also vegan!!! Yay!! I have recently gone vegan but have been a vegetarian my whole life. She is an inspiring role model. Sylvie is now 50 years old and her career was about 35 years. I feel honored to have been able to watch her farewell.

Laurent Hilaire and Sylvie Guillem rehearsing at the Royal Ballet School in 1992. (Michael Ward/Getty Images)


 A quick pic before heading in.

My friend, Ashlyn, went to go see her perform on Thursday and I asked her how it was and she had a loss for words.  When I saw Sylvie perform her first piece, I felt the same.  The choreography of the first piece was so different and unique but it suited Sylvie very well and she performed it with perfection.  I could really feel her emotion of the piece too.  I mean it is so hard to explain any of these pieces because it was just so incredible.  You would really have to witness it live.

All dressed up and ready for the show

The next piece was a duo choreographed by William Forsythe with two male dancers, also contemporary.  It was quite interesting because it started out with no music; just the two men dancing with each other.  They connected their movements together nicely and it was almost like one did a movement and then the other would sort of react to it or continue it.  To me it seemed like that some parts were as if one was a shadow of the other.  Sylvie came on in this piece near the end for about 30 seconds or so.  Ashlyn said she didn't do this on Thursday night.

Brigel Gjoka and Riley Watts in Duo2015. Photo: Bill Cooper


Sylvie then did a duo (Here and After) with Emanuela Montanari (La Scala).  It was choreographed by Russel Maliphant. They danced so in sync and I really liked the choreography and music.  I couldn't see this from my seat, but if you sat a little higher you could see the lights on the floor.  The lights would go with the music or where Sylvie and moved across the stage.




During intermission we all met up and we were all in shock that we were actually seeing Sylvie perform live!!!


The final piece was titled "Bye" (choreo by Mats EK). It started out with this rectangle screen near upstage left. (If you are on watching from the audience it would be considered upstage/rear right)  It had a projection on it with Sylvie.  She would then dance with this projection. It was hard to tell if the projection was actually Sylvie in that moment or not because she was so in sync with it. In some points throughout the piece I thought that it was filming her and then projecting it onto the screen live.  Thats how in sync with it she was! Again, hard to explain but amazing to watch. If it comes out on DVD I would definitely buy it. 

After this piece was performed, Sylvie came out to bow and she got a standing ovation from the sold out theater!!! It probably lasted for about 10-15 minutes! People handed her flowers from the front row. I wish I was sitting there!


I then met my friends outside the theater and we headed to the stage door.  There was already a decent amount of people waiting.  Some of my friends were closer to the door, but Gillian, Claire and I stayed back a bit but were in the center facing the door where we thought she would exit. We had to wait for about 45 minutes, but it was definitely worth it!


There was a security guard there and they had this pretty organized. Sylvie stayed inside this area in the doorway. People were allowed through the doorway in groups and she took several group pictures.  If you wanted something signed you would just hand it to her and she would go through the pile signing everything. She already had a sharpie.  I had her sign my pointe shoe.





I am so grateful to have been able to see this idol perform and I am still in shock that I got to meet her.  Sylvie is a beautiful person and dancer.





Thanks for reading and keep dancing! 


Love,


Robbie