Tap Dancing Around The Elephants - How Collusion Impacts Your Life at Work

                

 

What is Collusion?

One of the most insidious and destructive workplace (and life, in general) behaviors impacting life at work is collusion. Collusion, as I and my coaching clients work with it, is defined as two people each co-opting their true and real self in order to support their own and the other's falseness, fakeness and phoniness. One result of colluding is that neither person "shows up" in integrity or authentically.

When colluding, we allow ourself and the other person to run our respective "personality program" — the self-destructive, self-sabotaging and limiting behaviors and beliefs we use in order to gain acceptance, approval, recognition, and control — so we can feel we are emotionally safe. Collusion is like saying (only not out loud), "I'm going to let you behave the way you want or need to so I can feel good about our relationship even though I know my behavior and your behavior are (for example) inappropriate, self-destructive, out of integrity", etc.

So, in this context, we're not looking at collusion that one would commonly associate with what we know as "fraud", but this type of workplace collusion is fraudulent insofar as I am living a lie and supporting another to live his/her lie. It's "fraud" on a deeper, inner level as it relates to who I am and how I am in my relationship(s).

What Does Collusion Look Like?

In the everyday, "9:00 Monday morning" world, collusion can take various shapes and forms. Underneath these ways of behaving is the lie. Colluders lie to themselves and to one another. General expressions that reflect collusion are:

· Giving to get

· You scratch my back and I'll scratch yours

· Go along to get along

· One hand washes the other

The important thing to understand is that one's ego-needs for control, recognition and security — mental, emotional, physical, spiritual, psychological, financial, etc. — drive one's (often unconscious) choice to collude. This choice to collude is perpetuated on one's (often unconscious) need to hold on to one's false sense of one's self, one's fake and phony self because this false sense of self brings (as fake as it is) a related false sense of security and safety. So, when colluding, two people create an unspoken agreement, a very subtle agreement, that "I will act in this way toward you to feel safe and allow you to act in your way toward me to feel safe, so we both can hang on to our respective (false) emotional and psychological sense of security and stability.

More specific everyday examples of workplace collusion are: · supporting and pledging allegiance and loyalty to an incompetent leader, manager, supervisor, direct report or co-worker so we both can feel recognized, seen, and/or emotionally safe with each other. If I support that person, s/he will appreciate my support and feel seen, perhaps liked, and I'll experience his/her appreciation which allows me to feel seen and be "special", accepted or "OK" in some way in the (dysfunctional) relationship.

· sharing information with a select few (even though others are entitled to it as well), so I'll been viewed as caring about them and they will feel they're in a special group. When I share with them, I feel in control, and secure and when they receive, they feel special or acknowledged that I chose them — even though we all know we are being duplicitous and inappropriate in our actions of giving and receiving.

· verbally ganging up on a third party through bullying, sarcasm, or gossiping. I and my co-commiserator bring a false sense of connection and camaraderie at the expense of the third party while we create our own co-dependent relationship.

· withholding honest and forthright comments about inappropriate behavior in a feedback session for fear of alienating a direct report, for example, whose work we respect. By resisting telling the truth, and perpetuating this person's false belief that his/her behavior is acceptable, we both can "play the game" of mutual respect, friendship and acceptance in carrying on this phony relationship of mutual "like".

Why Do We Collude?

Collusion is all about lying (colluding) to protect my and another's oft-fragile ego instead of showing up in integrity, from a place of honesty, sincerity and self-responsibility. The curiosity is why we collude.

Everyone on the planet experiences a sense of deficiency in some way, shape or form. It's a fact of life. We all have some sense that we are not "enough" in some areas of our life, or are lacking in some way in some area of our life. Everyone experiences deficiency. Each of us has two options in dealing with this sense of lack or deficiency:

1. We can choose to "work" on our colluding to understand it and our motives for colluding, and take conscious steps to effectively melt, metabolize, reduce and greatly eliminate it — in which case the result is our "showing up" authentically, sincerely, honestly and self-responsibly without the need to be fake, phony or lie.

2. We can manipulate our self and others in ways where we ignore, deny, and resist telling the truth in the hopes of keeping our relationship with our self and with others emotionally secure by ignoring "the elephants in the room" — by putting on blinders to what needs to be said, to what needs to be heard, to what needs to be felt and to what needs to be seen, hoping that denial will "keep the emotional peace" and perpetuate the co-dependent or dysfunctional relationship.

The Basic Problem With Collusion

Unfortunately, collusion is like a drug. It's progressive. When we start colluding to feel emotionally safe and secure, we need to lie and collude more and more to maintain the false feeling of emotional safety. In addition, when we collude, we are constantly in a state of "vigilance", or fear, preoccupied with whether we will be "found out." Too, when we collude, we are constantly worried and concerned whether our co-colluder(s) will have a "conversion" and then fear we'll be left alone with the unpleasant and uncomfortable truth of who we are, colluders — i.e., we'll be "outed." Finally, colluding is exhausting; it takes an inordinate amount of our physical, emotional and psychic energy, and time to continually shore up relationships that have no true foundation built on trust or truth.

The Solution for Collusion

Colluding is corrosive to one' head, heart and soul. The simplest way to rid oneself of the need to collude is twofold: to seek understanding of the reasons (excuses) why we refuse to tell the truth to ourself and to others, and then set our intention to tell the truth when often we would rather resist. Simple, not always easy. From a place of empathy, compassion, acceptance, strength, courage, will and self-love, truth-telling is freeing — mentally, emotionally, physically and psychologically. Truth-telling allows us to show up authentically, in integrity and in an honest, sincere and self-responsible way. And, truth-telling, while initially more challenging than denial, is the only way to experience a real life of happiness, self-fulfillment, and true relationship with others at work, at home, at play and in relationship free of the effort that's required to tap dance around the elephants..

Meaning, happiness, and co-workers who are truly friends are always at the top of the research responses to the question, "What's really important to you at work?" You can't collude and expect to find real meaning, real happiness and real, authentic friends at work. Thinking you can............is collusion.

So, our $10 food for thought questions are:

· What keeps you from telling the truth at work? Are you afraid to tell the truth?

· Do you collude? If so, what are some ways you collude?

· Do you find yourself lying and being phony or fake to maintain specific relationships?

· Do others collude with you, not tell you what they think you need to hear, for fear of how you might react?

· How do you feel when you are in an experience when you know you are colluding (i.e., giving to get, going along to get along, etc.)?

· What's "right" about colluding? What does colluding get you? Is there another way to get that result or experienece without colluding?

· What one baby step can you begin taking this week to reduce your want or need to collude?

Peter G. Vajda, Ph.D. and SpiritHeart. All rights in all media reserved.

You may reprint this article as long as the article is printed in its entirety, including the author’s information.

Peter G. Vajda, Ph.D, C.P.C. is a founding partner of SpiritHeart, an Atlanta-based company that supports conscious living through coaching, counseling and facilitating. With a practice based on the dynamic intersection of mind, body, emotion and spirit — that is, Essential Well BE-ing — Peter’s approach focuses on personal, business, relational and spiritual coaching. He is a professional speaker and published author. For more information contact pvajda@spiritheart.net or phone 770.804.9125

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Tap Dancing Is Back

                

 

Tap dancing is back. Another aspect of tap dancing is improvisation, the timing of the step, the foundation of which tap dancing is built and the means by which the rhythm is based all of these factors are very important. To some it may seem that tap dancing is losing ground in the world of dance. The art of tap dancing is a culture in itself. Tap dancing is a great workout. A fun way to exercise is tap dancing; some of the benefits of dance are coordination and rhythm development. Even better, one hour of tap dancing is thought to burn around 250 calories. Tap dancing is fun for both the audience and the dancer and especially children.

You don't really have to practice tapping on a hard wood floor. All children need practice when they are learning new skills, just like adults do. Wearing black clothing makes it much easier to see your body movements while you are dancing to the rhythm of the music.

When you become an experienced dancer, you can purchase tap shoes, they come in an many different styles, it all depends on what type of dance you are doing. Try not to wear rubber on your shoes since they get stuck on the floor, the key is to flow across the dance floor while tap dancing. Put your dancing shoes on, tap dancing is the new way to keep off the pounds. Experienced tap dancers usually invest in a more expensive pair of tap shoes and they usually run around $250. Leave your stress at home and wear comfortable clothes and shoes its time to dance. Adapting to the music while dancing is a stimulating challenge, for some it is not easy to feel the rhythm.

Balance and coordination are items that are brought up in the this class so students learn the basic tap dancing techniques. When taking a class they will break down all of the basics of tap dancing, as well as explore the foundations of body movements. Tap dancers must stretch before every performance, rehearsal or class.

Tap dancing is probably the most interesting of dance genre. Tap dancing is a good type of exercise and the routines are sometimes used in performances. Having its roots in early American Jazz, tap dancing is fun but incredibly challenging. Tap dancing is a fantastic substitute to conventional workouts to stay fit. Tap dancing is celebrated all over the world.

David Marc Fishman is the owner of bornasuperstar.com the online audition

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Tap Dancing is a Good Cardiovascular Exercise

                

 

If you want an exercise that will keep you in shape and that is good for your heart as well, consider tap dancing. The beauty of tap dancing is that the basic steps are easy to learn and you can add your own flair and touches to make it fun for you. Just 20 minutes of tap dancing three times per week is enough to improve your health and get you back into shape.

The first thing that you need for tap dancing is, of course, tap shoes. You can find tap shoes online or at a local dance store. Tap shoes have metal on the toes and heels that make a "tapping" sound when ever you stomp on them. You can also make your own tap shoes. You can basically use any shoe that you want to use from a dance shoe to boots. Once you have chosen your shoe, you can buy taps and put them on the bottom of your shoe. Before you put your taps in place permanently, make sure that they are on the correct place on your shoe as shoes have different soles and shapes.

You can learn tap dancing by taking a class or by teaching yourself with a video. Tap classes are available for all ages from toddlers to senior citizens. There are different types of classes as well. Some use jazz, others use big band type music and one of the most popular tap classes around now uses tapping with hip hop music. If you choose to learn to tap on your own, research videos before purchasing one. Read reviews and make sure that it is for beginners and also has the kind of music you like. The more a video is geared towards the type of music and exercise you want, the more likely you are to use it.

You need to use a solid surface for tap dancing. Taps can scratch hard wood floors, so you might want to purchase a sold surface to use when tapping. You can actually purchase hard "mats" for practicing your tap.

The more you use your arms, the better the cardiovascular workout. Be sure to do slow tapping at the beginning of your workout to warm-up and slow tapping at the end to cool down. The best way to strain muscles and injure yourself is to jump right into tapping without stretching or warming up. Tapping is excellent for coordination and balance as well. You can learn to tap on one foot or tap your feet alternately with your hands.

Tap dancing is a traditional dance that can be made contemporary by using popular music and more modern steps. It is a fun thing to do by yourself or to learn with a partner. A great cardiovascular workout and great way to keep in shape, tapping might be the perfect exercise option for you.

I enjoy writing for my websites please visit my organic vegtables, career aptitude test, seedoo pages

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Ballet Dance Wear

                

 

Most can agree that ballet is a beautiful variety of dance, but it is also a delicate art form. The performers are often times telling a story with their movement, and the costumes, or clothing they wear play an integral part in the unfolding of the story. During practice, the ballet dance wear is usually less delicate and more practical, however, during recitals, and performances, dancers can go on stage in anything from an all black body suit, to very complicated skirts, tops, and leggings! The type of dance known as En Pointe, is unique to ballet and has very specific shoes that resemble classic ballet slippers until you see the toe. There it is flattened and very sturdy so that a dancer can stand literally on their tip toes. Dance wear has certainly come a long way and there are several varieties offered to fit any needs.

Rehearsal or practice for ballet doesn't usually require full on costuming unless it is a dress rehearsal. Common attire for dancers in class is for girls; a leotard, tights, and your slippers. For guys it can be the same with the addition of shorts as well. Leotards are a one piece body suit that can resemble a bathing suit with or without sleeves. Students attending standard or beginner ballet class will also wear their ballet slippers to dance in. However, En Pointe classes require a dancer to own and wear point shoes. It takes a lot of practice and breaking in to get used to point shoes. Performers often will go through a period of time where their toes are extremely blistered and sore from learning to dance on point.

When it comes to recitals and performances the possibilities are endless and it truly depends on the story being told. It's common to see a flowing or exaggerated skirt on women because it helps to signify their feminine qualities, and can often give the illusion of flying. Costuming is important because ballet is a very movement oriented dance, and the clothing has to be conducive to running, jumping, and it just needs to be flexible.

The vast array of ballet dance wear is available all over the world and on the internet. Whether it's for a performance, practice, or class, there is no doubt when it comes to the shoes that they need to be of quality. Ballet shoes are one of the single most important elements to one's wardrobe. If the shoes are poor quality, then there is a good chance for the dancer to injure themselves or someone else.

Marco Cello is the owner of http://www.hotballet.com

Visit us if you want to learn more Information on Ballet Dance Wear

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Getting the Pointe: A Violinist Pursues Her Dream of Dancing Ballet

                

 

My sagging sock feet slip on the waxy buffed linoleum as I awkwardly shuffle my way past a gaggle of giggling girls in baby pink tutus. I'm wearing my yoga clothes, which have sadly not seen a yoga mat in two years, and my long mane of hair is reluctantly tied back in a girlie ponytail.

I feel ridiculous. I'm a thirty-year-old woman enrolled in a ballet class with teenage girls.

The seven-year-olds clear out and any moment now I'll be greeted by perfectly straight white smiles perched on top of perfectly young, toned bodies in lululemon spandex. Slouching in my slouch socks I catch my nervous reflection in the enormous wall of mirrors glaring back at me. Socks are not the only things that are sagging in this gal; my body has seen nine long months of pregnancy, two years of nursing and a several years skipping the morning make-up routine to chase after an active son.

I came here today to begin something I yearned to do almost twenty years ago.

I grew up the oldest child of a single mother who struggled to put food on the table. My best friend's family was well-off and put their children through whatever after school activities and summer camps their hearts desired. Among riding lessons, piano lessons, flute ensemble and painting class, Meghan excelled in ballet and violin.

She played beginning Suzuki "Twinkle Twinkle" variations and tears of yearning welled up in my eyes. She performed simple dance routines on the glossy hardwood floor of her living room set to orchestral music on the hi-fi and I applauded her every move. Sometimes she allowed me to wear her old ballet slippers and a flowing black skirt as I mimicked her clumsily.

A passionate fan of classical music since birth [and a typical pre-teen girl], I became enamoured with both violin and ballet and begged my mother to send me to classes. Sadly finances forbade it completely and I was relegated to the audience to watch and admire Meghan.

When I was twelve my mother was seriously injured at the shipyard where she painted oil tankers. She received a very modest cash settlement to take care of the doctor's bills and time off work. In her first position to pay for a class, my mother said I could take up one activity: ballet classes for a year or the purchase of a violin.

Ballet or violin? My maturity and insight in the decision took my mother by surprise. I chose violin knowing I could play violin for a lifetime as opposed to the very short careers of performing ballerinas. One thousand dollars of my mother's pain money funded my first violin, a Karl Knilling German factory fiddle made in 1989.

We certainly couldn't afford private lessons but that didn't stop me living and breathing violin. I took the city bus downtown and brought home as many sheet music scores and audio tapes as the public library would allow. We moved so I could attend school where orchestra was offered. Practicing three to five hours a day, I quickly advanced to the concertmaster position and soon started ensembles of my own.

Music college and several orchestras later I find myself married with a child and the owner of a violin business. Life had zoomed past and I never again looked back on my desire to dance ballet.

It was New Year's Eve at Grandma's house and my six-year-old son was doing his usual dance after supper routine, this time heightened by the vast quantities of Christmas candy he had consumed. On a whim I put on the John Travolta film "Staying Alive," thinking my son would appreciate the modern dance sequences and I'd enjoy a jaunt down memory lane with the classic flick.

The movie rocked Ryan's world. He was copying the moves with amazing accuracy, the spins and leaps and beaming ear to ear. The dancing he saw on the screen illuminated a whole new level of appreciation for dance and confirmed a fervent desire in his heart to dance.

My mother watched with adoration and I felt a deep pride: I'd helped him find something he loved. Heck, anyone could enroll their kids in a hundred activities, but it's far more meaningful when it's something their heart aches for. I'd even go as far to say that when you get something too easily it's not as sacred. I'd been waiting for this moment to come and was more than willing to support him in it.

A week later Ryan was enrolled in the winter semester of ballet for 6 year olds. He was the only boy in the class, but that didn't faze him. Surrounded by pink flowing fairies my child looked like a ninja in his black sweats and dragon T-shirt. He started late in the year but was keeping up well and particularly enjoying the theatrics of the class.

For four weeks I peeked through the doors of the waiting room and watched Ryan's class alone while other parents ran errands with the spare 45 minutes. One session I was, as usual, copying the class' movements from behind the door when another parent asked, "you're a dancer too?"

It hit me like a load of ballet shoes. "Me, a dancer?" I thought. It had never occurred to me to take up dance as an adult. "Why the heck not," I told myself. "I just turned thirty years old, dammit, and I can take ballet classes if I want to!"

So here I am in the Shuswap Dance ballet studio waiting to make an ass of myself. My inner twelve-year-old got me here, but the sensible 30-year-old thinks I'm nuts. "Should I run now and spare myself the embarrassment?"

My classmates enter the room. Normal looking teenage girls in sweats and T-shirts, no makeup, no perfect figures. Not the prima pink ballerinas I expected. Just some young ladies who want to learn to dance. (Phew, I won't need to buy anything pink!)

Our instructor, Carolyn Wonacott, starts us out skipping around the room... backwards. I'm tripping on myself and getting in everyone's way: making a complete ass of myself as expected. But I' laughing and having the time of my life. Carolyn blasts Michael Jackson's "Billy Jean" as we practice twirling around the room, dizzy and giddy.

My muscles are protesting from the sudden activity as if to say, "what did we do to you to deserve this sudden onslaught of torture?" The pliés (I'm sure which literally translates to "pain in le ass") are killer, but they make me feel like a graceful dancer so I forge on. I know I'll feel this tomorrow but continue to bend deeper into the stretch.

"I'm a dancer," I snicker.

I learn that my class performs more than just ballet. We work on a jazzy swing number and next break into a chirpy hip-hop number by, er, Brittney who? I'm an old matron who listens to CBC news radio; completely out of touch with 21st Century pop culture. The girls fill me in on the singer's recent head shaving and suspected drug addiction and we move on. I try my best to copy their moves and fail miserably to keep up but know I'll get it eventually.

The class ends and I head upstairs to buy my first set of dancing shoes. I'm tired, far more tired than I'd expected I'd be, but I feel a warm glow in my bones as I slip on various slippers and shoes. I settle on a cozy pair of jazz shoes and receive encouragement from Carolyn. We both know I'll never dance with the Royal Ballet and may not make it on to pointe shoes. I don't mind. I'm just fulfilling a promise to myself and it feels great.

I wear the shoes all the time, eagerly awaiting the next class. I lace up my adorable little black shoes and stretch my toes into the lovely pointe shape I've admired for so many years. A feeling of pride and accomplishment washes over me.

I have learned that I can do anything I set my mind to. This was a gift that my mother passed on to me: the gift of learning to really want something and having the desire and tenacity to make it happen.

And this time around I'll have my handsome son as a dance partner.

**Rhiannon Schmitt (nee Nachbaur) is an award-winning classical violinist/fiddler and music teacher operates Fiddleheads Violin School & Shop. She shop has also won several distinguished business awards and offers beginner to professional level instruments, accessories and supplies with exceptional personal service: http://www.fiddleheads.ca

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How Ballet Dancers Can Avoid Common Foot Injuries

                

 

Most dancers will complain of some foot injury at some stage in their training, and professional ballet dancers will often be plagued with chronic foot injuries, ranging from mild ones that are nursed for years, to severe injuries that may be career ending.

The truth is, that many common foot and ankle ?injuries? occur as a result of poor ?intrinsic? foot muscle strength. The ?intrinsic? foot muscles are tiny little muscles that start and end within the foot, that help control the position of a ballet dancers arch, and are responsible for the control of her toes within the shoe en pointe. If these small muscles are not working effectively, larger muscles called the ?extrinsic? foot muscles, that originate further up the leg become overused, as they attempt to perform two roles. This often leads to conditions such as ?Anterior Compartment Syndrome?, ?Stress Fractures? of the shin bone (tibia), or ?Medial Tibial Stress Syndrome? , commonly known as ?Shin Splints?.

Weakness in the intrinsic foot muscles and overuse of the extrinsics will also result in the toes ?clawing? both when rising, and en pointe. This is the biggest cause behind the nasty blisters that are often seen in photos of professional ballet dancers, however this does not have to be the case. Control of the intrinsic allows the middle joint of the toes to remain straight while fully pointing the rest of the foot. This does not affect the look of the line of the foot, but does make dancing much more enjoyable when free of pain!

In many other sports, orthotic devices may be worn in the footwear required that will help stabilize the arch and settle symptoms related to poor intrinsic muscle strength. Unfortunately, in ballet slippers, these orthotics cannot be worn (although many have attempted this!) so the dancer is often left to ?live with? symptoms, or have repeated extended breaks from dancing.

With correct strengthening combined with gentle stretching however, many of these ?chronic? injuries settle very quickly. ?The Perfect Pointe Book? is a comprehensive collection of many exercises designed to specifically strengthen the foot muscles needed in any ballet dancer. While initially designed to help girls strengthen their feet before going onto pointe, this book is essential reading for any dancer, especially if they have had, or currently have any foot injuries. The exercises have been developed after years of working closely with ballet dancers, and seeing first-hand what is most effective in regaining control of these small muscles.

Often ballet teachers find the specifics of training the foot strength needed for pointe work difficult as it came naturally to them. However for many people, the isolated strength needed in the feet must be specifically trained, especially nowadays, as many children who grow up in cities spend little time bare foot on different surfaces, which naturally trains the tiny intrinsic muscles of the feet. Understanding how these muscles should work when dancing is imperative in a long, injury free, career in dance.

Lisa Howell (B.Phty) is a Physical Therapist (Physiotherapist) based in Sydney, Australia, who specialises in the assessment and treatment of dancers of all ages, from young students to professional level, and ballet teachers. She is dedicated to the education of dancers to help prevent injury, and to develop optimal performance at every level. She produces a FREE weekly dancers newsletter with tips on all aspects of dance to help spread her knowledge to the world. To find out more about ?The Perfect Pointe Book? or to receive her newsletter, go to =>http://www.theperfectpointebook.com

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Ballet is an art and it is different from other dance forms. Ballet is a specific dance form and technique. Many historians list dance as the oldest of the human art forms. When looking at dance it is very structured in its movements, when dance is set to a musical score for rhythm, you are able to see how the physical movements translate into joy and happiness. The movements of ballet beautify and create gracefulness throughout your limbs and body. Enchanting and graceful with unbelievable steps, ballet is an extremely difficult dance to learn perfectly.

An important part of the ballet dancer's equipment is the ballet shoe, while the shoes are beautiful they are essential and important in the ballet dance. The ballet shoes are designed to be pleasing to the audience and mostly they are designed to function for the dancers. Ballet shoes typically do not last very long and have a short life, but the shoes were designed to help the dancer move with implausible strength and grace while dancing. Pointe shoes, in many ways, can be considered an extension of the dancer. When purchasing ballet shoes keep in mind that leather last longer than canvas, if you do purchase the shoes in canvas you will need to replace them more often. Another decision that must be made for ballet flat shoes is the type of closure on them. When taking ballet classes the teacher or instructor might have color, type and brand requirements, so check before purchasing. When just starting out and learning ballet it is not important to purchase the most expensive shoes, purchase your ballet shoes at a discount store, if you like it you can always purchase more expensive shoes.

Beginning students for any type of activity always look ahead and imagine the day when they will be able to wear pointe shoes. Ballet shoes are not a normal looking dance shoes they have an odd shape and with a flat section in the front of the shoe but they are designed in this fashion to help the dancer stand on their toes. There are several elements involved in the anatomy of a pointe shoe, all of which contribute to its fit and performance. When first starting out in ballet and you will need to purchase ballet shoes, you will not need pointe shoes until you reach a more advanced level..

Tights come in a variety of colors, with the most popular being pink and black. Ballet dancers usually wear either tights or leotards for comfortable body maneuver. The tights that Ballet dancers wear are tight-fitting which allows the fluid movement when the dancers are performing. Specialized ballet tights are often found in plain colors.

From the beginning of time dances such as ballet have been intertwined with music. Without music ballet is nothing more than the empty motions of a ritual. Such schools offer both beginners classes as well as classes for training professionals with live music accompanying instructions and training.

If your children are just starting ballet you might look to see if your town offers classes. Most of the time the town ballet classes that are offered are much more inexpensive than private lessons, and are a good way of determining if your child will like this type of dance.

David Marc Fishman is the owner of bornasuperstar.com The online talent shows for musicians

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Ballet Dancewear

                

 

Many companies manufacture dance wear, costumes and fleece warm up clothing for professional ballet dancers and students of ballet. Ballet dancers usually wear either tights or leotards for comfortable body maneuver. The tights worn depend on the type of slippers that the dancer wears. They can be footed with an elastic strap at the foot that is hooked onto the heel. Tights can also be footless ending at the ankle. Ballet tights are made of nylon, micro fiber, fishnet and other materials. Tights come in a variety of colors, with the most popular being pink and black. Most dance schools require pink, footed tights for girls and black tights and white socks for boys. Brand names include Prima Soft, Danskin, Capezio and Mondor.

Leotards are available in a variety of designs and interesting fabrics like ribbed cotton and velvet. Some of the more popular styles include the double-strap or cross-strap camisoles by Capezio, Leo's Dancewear and Motionwear.

There are no specific brands of shoes that schools require but many encourage that girls wear pink and boys wear black or white for ballet. Popular ballet manufacturers are Sansha, Bloch, Grisko, Capezio and Prima Soft. These companies have popular full-soled and split-soled shoes. Capezio sells leather Romeos, split-sole ballet shoes designed especially for men.

Ballet dancing instructors can be strict about accessories, but most allow short skirts to be worn during variation classes, but only at the instructor's discretion. Some allow skirts that match your leotard, such as the Mirella collection that has skirts color coordinated to their leotard line. Some allow for creativity, and students can opt for the hand-dyed look of Watercolour skirts.

Fun accessories include unique dance bags and warm-ups. A popular style with girls and boys is the rip-stop nylon shoulder or messenger bags with cell-phone cases attached and bowling bags, along with the more traditional athletic bags. Jewelry is generally taboo, but girls are usually allowed to wear stud earrings.



Dance Wear provides detailed information on Dancewear, Ballet Dancewear, Liturgical Dancewear, Competition Dancewear and more. Dance Wear is affliated with Salsa Dance Shoes.

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Ballet Barre Stretching - Perfecting The Grace And Poise Of Ballet Dancing

                

 

Any ballet dancer can tell you that the term ?barre?, not only refers to the handrail that is used during their warm-ups, it also refers to the series of ballet stretching exercises that form the foundation of ballet dancing training for all levels.

The barre are simple exercises focused on building grace, and poise necessary for dancing. Barre exercises are repeated in a slow manner to gradually increase strength and teaches correct body placement at the same time.

Some basic movements in the barre routine would include: 1. Pli? ? These are the very first exercises done at the barre. This means ?to bend? in French. Exercises such as these are to develop balance. Dancers are to bend their knees while keeping their feet pointing outwards. The lower they bend, the more precarious, hence training their balance. It also keeps the joint and muscles elastic.

2. Tendus ? Dancers use this training to compel their instep in an outward direction. It also helps them to master the arches as it is focused on the movement of the ankles and feet, and training the muscles in the area.

3. Degage ? The degage is a continuation to the tendus. It also aids in ankle joint suppleness while targeting toe strength.

4. Frapp? ? A movement where the foot is elevated from a fixed position and then straightened. It trains dancers in strength and balance as they elevate their foot and in strengthening the instep.

5. Rond de Jambe ? This can refer to either (i) Rond de jambe a terre and (ii) Rond de jambe en l?air. Rond de jambe a terre bring the toe and heel into line, and perfects the balance of a ballet dancer. Rond de jambe en l?air relaxes the joints of the hips and turn the legs outwards, preparing the dancer for other dance position.

6. Developpe ? The target areas are the muscles at the back, the legs and the abdomen. The dancer lifts the leg up, and maintains the elevated position in the air while extending the foreleg. This forces the dancer to try to maintain balance.

7. Fondu ? Dancers need to get used to jumping high up in the air, and these movements are designed to strengthen the leg muscles, by the slow bending of knees.

8. Grand battement ? This forms the last in the series of the barre and is performed after stretching exercises. The main focus is on the alignment of the legs and hips while dancers have to raise their leg as high as they possibly can and the supporting leg is supposed to remain straight.

The barre and the list of exercises are almost seen to be compulsory before any serious ballet lessons or practice commence. These ballet stretches can be used to help those who want to get back in shape for dancing after a period of convalescing from injuries, since the exercises are specific and targeted at the important joints and muscles needed in dance.

Moses Wright is the founder of Stretching Exercise. He provides more useful information on , Stretching Equipment and Sports Muscle Stretching on his website. Webmasters are welcome to reprint this article if you keep the content and live link intact.

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Ballet is an art and it is different from other dance forms. Ballet is a specific dance form and technique. Many historians list dance as the oldest of the human art forms. When looking at dance it is very structured in its movements, when dance is set to a musical score for rhythm, you are able to see how the physical movements translate into joy and happiness. The movements of ballet beautify and create gracefulness throughout your limbs and body. Enchanting and graceful with unbelievable steps, ballet is an extremely difficult dance to learn perfectly.

An important part of the ballet dancer?s equipment is the ballet shoe, while the shoes are beautiful they are essential and important in the ballet dance. The ballet shoes are designed to be pleasing to the audience and mostly they are designed to function for the dancers. Ballet shoes typically do not last very long and have a short life, but the shoes were designed to help the dancer move with implausible strength and grace while dancing. Pointe shoes, in many ways, can be considered an extension of the dancer. When purchasing ballet shoes keep in mind that leather last longer than canvas, if you do purchase the shoes in canvas you will need to replace them more often. Another decision that must be made for ballet flat shoes is the type of closure on them. When taking ballet classes the teacher or instructor might have color, type and brand requirements, so check before purchasing. When just starting out and learning ballet it is not important to purchase the most expensive shoes, purchase your ballet shoes at a discount store, if you like it you can always purchase more expensive shoes.

Beginning students for any type of activity always look ahead and imagine the day when they will be able to wear pointe shoes. Ballet shoes are not a normal looking dance shoes they have an odd shape and with a flat section in the front of the shoe but they are designed in this fashion to help the dancer stand on their toes. There are several elements involved in the anatomy of a pointe shoe, all of which contribute to its fit and performance. When first starting out in ballet and you will need to purchase ballet shoes, you will not need pointe shoes until you reach a more advanced level..

Tights come in a variety of colors, with the most popular being pink and black. Ballet dancers usually wear either tights or leotards for comfortable body maneuver. The tights that Ballet dancers wear are tight-fitting which allows the fluid movement when the dancers are performing. Specialized ballet tights are often found in plain colors.

From the beginning of time dances such as ballet have been intertwined with music. Without music ballet is nothing more than the empty motions of a ritual. Such schools offer both beginners classes as well as classes for training professionals with live music accompanying instructions and training.

If your children are just starting ballet you might look to see if your town offers classes. Most of the time the town ballet classes that are offered are much more inexpensive than private lessons, and are a good way of determining if your child will like this type of dance.

David Marc Fishman is the owner of bornasuperstar.com The online talent shows for musicians

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How to Choose the Right Pointe Shoe for Ballet Dancing

                

 

Pointe shoes, in many ways, can be considered an extension of the dancer. Designed for pleasing aesthetics as well as function, these shoes typically have a short lifespan, but enable the dancer to move with incredible grace and strength.

The most critical feature of any pointe shoe is how well it fits. Proper fit safeguards the dancer's feet, ankles and legs and makes en pointe work possible. This is especially important for younger dancers, as proper bone development can be impaired by incorrectly fitting shoes. There are a number of brands and styles available, and no single type is built for every dancer. A dancer's experience, shape of the foot and strength should be considered in finding the best shoe.

Bloch Pointe Shoes

The Bloch pointe shoe is available in different styles including Sylphide, Sonata, Suprima, Serenade, Aspiration, Concerta, Triomphe, and Alpha ? Sole. Beginner dancers will be suited to the Sylphide, Sonata, or Suprima. The Sylphide has broader widths than other Bloch pointe shoes and helps beginners with untrained feet roll up onto pointe more easily.

The Suprima will feel comfortable to beginners and advanced students as it provides good flexibility while maintaining good arch support. Note that some Bloch pointe shoes have the narrower box shape and snug heel which is not suited to a "fleshy" foot. Shoes such as the Aspiration and Alpha pointe shoe are designed with the advanced student in mind. These shoes offer better arch flexibility but should not be worn if you do not have strong feet and ankles.

Capezio Pointe Shoes

Capezio Pointe Shoes includes several styles, each intended for specific needs. The original Gliss? features a hard shank, broad toe-box and a U-shaped vamp to allow dancers to roll up to pointe comfortably. The Gliss? ES offers the same, but with a harder shank. The Gliss? Pro and Pro ES are intended for more experienced dancers and feature a lower side and back height, with a medium and hard shank respectively. The shankless Demi Soft is based on the Gliss? design, and intended for pre-pointe students.

The Pli? style is best suited for dancers needing a vamp that extends beyond the toe. Pli? I offers a medium shank, and Pli? II features a harder #5 shank. The Tendu style offers a medium shank and boasts a quick break-in time. Tendu II has a broader box and wider platform. Both Aerial and Pavlowa shoes feature a Russian-styled tapered box. The Aerial is best to support high arches, while the Pavlowa offers a harder shank, longer vamp and heel height. The Contempora is an American-style wide-platform shoe with a longer vamp and lower heel.

Freed Pointe Shoes

Freed Pointe shoes are available in the Classic, Studio and Studio Pro styles. The various lines are designed for a specific level of dancer, as well as their physical requirements. The handcrafted Classic is particularly designed for the needs of the experienced or professional dancer. It features a deep, round vamp, but those needing more support will favor the deep V-cut vamp and stronger insole of the Classic Wing Block.

The Studio line is intended for the younger dancer and offers extra support. The Studio II style features a wider platform and lower profile than the original. The Studio Pro is also designed for the younger dancer, but it includes a V-shaped vamp and ? shank for greater flexibility.

Grishko Pointe Shoes

The line of Grishko Pointe shoes features Eleve and Releve models. The Eleve include the Ulanova I and II. These shoes are intended for dancers instructed to roll up on pointe. You can find out more about dancing en pointe at www.balletdancestudio.com . Ulanova I has a medium height vamp and versatile box for dancers with toes of an even or slightly varied length. Ulanova II has a deep vamp and is best suited for dancers with longer toes or narrow feet.

The Releve styles, Fouette and Vaganova, are designed to accommodate the Russian-style of springing on point. The Vaganova has a deep vamp and tapered box. This style is particularly suited for dancers with a flexible arch, longer toes or narrow feet. The Fouette has a broad box and wide platform best suited for dancers with shorter toes or wider feet.

Gaynor Minden Pointe Shoes

Gaynor Mindon Pointe shoes differ from many brands. While manufacturers commonly feature a variety of styles, Gaynor Mindon instead designs shoes over six fitting options; shank, vamp, heel, regular fit, sleek fit and size. So many variations can feel confusing, but the benefit of this brand is that dancers essentially custom fit their shoes. The entire line is designed to minimize the shock of impact and comfortably fit every type of foot. Shank options run from flexible/little support to hard/ample support. In order from flexible to hard shanks, options are Pianissimo, Featherflex , Supple, Extraflex and Hard. Vamp options include Regular, Deep and Sleek.

A deep vamp is best for dancers with pronounced arches, while the sleek vamp is best for feet wider along the ball and narrower towards the heel. High, Regular, Low and Sleek heels are available. Choosing between them is a mainly a matter of comfort. The Regular and Narrow fit shoes differ only in width, but less heel and vamp options are available with Narrow Fit shoes.

Suffolk Pointe Shoes

Suffolk Pointe shoes includes the Solo, which features a slightly tapered box and longer vamp. It is available with a range of shoe types, Standard insole, Hard insole or Light insole. All but Light feature a standard box which provides uniform support appropriate for most dancers. The Light version is a flexible choice designed to help dancers go on pointe more easily. Hard insoles are available with either a full or ? shank, so dancers have the choice of greater flexibility along with ample support. No matter the variation, the Solo Pointe shoe features a low profile to provide comfort throughout the metatarsal area without sacrificing support or function.

How do you choose?

There is not one shoe that overall is considered better than every other shoe. It really is a matter of individually fitting the right shoe to your foot. Be wary of other dancers recommendations because your feet will differ from theirs, and their shoes may feel very uncomfortable on you. You now know the major brands of pointe shoes and their different characteristics. You should have a good understanding of which style of shoe and which brand will fit best on your feet. I recommend finding a good retail dance store with a good shoe fitter. Get them to take you through the process of fitting different shoes and working out which shoe will best fit your feet.

Anita Leembruggen is a dance teacher and avid dancer herself. She has written many guides and articles for young and old dancers alike. Her great joy is helping students succeed. http://www.balletinfo.com

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