Vernon and Irene Castle: First Ballroom Superstars

Largely forgotten now, Vernon and Irene Castle were the first ballroom superstars. Vernon Castle (May 2, 1887 - February 15, 1918) was born William Vernon Blyth in Norwich, Norfolk, England. Irene Castle (April 17, 1893 - January 25, 1969) was born Irene Foote in New Rochelle, New York. Early in the 20th century ragtime music became popular in the United States and with it new and liberating styles of dance emerged.

Contrasting the stiff and formal schottisches and quadrilles of the past, variations on the Foxtrot became popular known collectively as American Ragtime dances. Although the Castles’ rise to fame was quick, it wasn’t immediate. Early in their marriage the Castles auditioned for Broadway mogul Lew Fields and were flatly dismissed. Fields told them, “Who’s going to pay to watch a man dance with his wife?”

They then traveled to Paris and gained quick notoriety for introducing the new dance forms to the French. Upon their return to New York in 1912, their success reached new heights. Soon after their debut performance, they were in high demand. By 1914 they had opened a ballroom dance school called “Castle House” where they taught high society by day, and a nightclub called “Castles by the Sea” where they performed to sell out crowds by night. Private dance lessons were in such demand that Vernon reportedly charged $1,000 an hour to his most demanding clients.

Later that year the Castles starred on Broadway in Irving Berlin’s Watch Your Step, in which they refined the basic Foxtrot, which then soared in popularity. The show went on a lengthy tour and brought the Foxtrot to the consciousness of the entire country. They held dance competitions along the way and culminated the tour at Madison Square Garden where they performed along with the winning ballroom dancers from each competition.

Ballroom dancing wouldn’t become stylized for another twenty or thirty years. This gave the Castles tremendous freedom and influence as they created styles and standards themselves. They disliked the “animal dances” that were the current trend. They considered dances such as the Turkey Trot, Grizzly Bear, and Chicken Scratch to be simplistic, coarse and “out of fashion.” Instead they developed dances that were more refined and often technically more difficult. Among other dances, they developed the "Castle Walk", "The Maxie" and a “hands-free” Tango they called “The Tango of Today.”

The Castles were trendsetters in many ways: they traveled with a black orchestra, had an openly lesbian manager, and were animal-rights advocates decades before it became a public issue. Irene was also a fashion innovator, bobbing her hair ten years before the flapper look of the 1920s became popular. They endorsed Victor Records and Victrolas, issuing records by the Castle House Orchestra, led by James Reese Europe -- a pioneering figure in Black music. They also lent their names to advertising for other merchandising products, from cigars and cosmetics to shoes and hats.

It wasn’t long before Hollywood came calling. The pair starred in a newsreel entitled Social and Theatrical Dancing and in the 1915 film Whirl of Life. They also published an instruction book called "Modern Dancing", which quickly became a best seller.

Vernon served as a pilot during World War I for the Royal Flying Corps and later as a training instructor for American pilots. While conducting flight maneuvers at Benbrook Field near Fort Worth, Texas his plane crashed, killing him instantly Irene paid tribute to Vernon in her memoir My Husband (1919). There is a street in Benbrook named in his honor as well as a monument dedicated to him.

Around 1930, "the best-dressed woman in America" presented a radio dramatization of her European travels with her husband, bulldog Zowie and Walter ("father's colored servant") around the capitals of Europe in "The Life of Irene Castle". Only one episode is known to still exist.

In 1939, her life with Vernon was turned into a movie, The Story of Vernon and Irene Castle, produced by RKO and starring Fred Astaire and Ginger Rogers. Irene served as a technical advisor on the film, but clashed with Ginger, who refused to cut or color her hair or to wear authentic reproductions of Castle's Lucile dresses.

For the rest of her life, Irene was a staunch animal-rights activist, ultimately founding the Illinois animal shelter "Orphans of the Storm", which is still active. Irene died January 25, 1969 (aged 75) She and Vernon are interred together in the Woodlawn Cemetery in The Bronx, New York.

Dances the Castles Helped to Pioneer(Click on Names for Description Links)

Bunny hug

Castle Walk

Foxtrot

Hesitation Waltz

Maxixe

Tango

curated content from Flickr

Pointe Shoes for Different Feet: Fitting Tips

Getting your first pair of pointe shoes is an exciting. However, please remember that you should only purchase and wear pointe shoes if your dance instructor has approved you to dance "en pointe". It is possible to cause serious injury or long-term damage to your feet by wearing pointe shoes without proper instruction and training. Even after you are approved to wear pointe shoes, you should only wear them in the studio under the supervision of your instructor. With this in mind, here are some guidelines for your first pointe shoe fitting.

Make an Appointment

Once you are approved by your teacher, you should call a local dance supply store to set an appointment for your fitting. By setting an appointment ahead of time, you can be sure that the person helping you has been trained in pointe shoe fittings, and that they will have a variety of styles and sizes in stock for you to try. Expect to spend at least an hour for your first fitting, as the store's fitter will need to measure and assess your feet and find the best possible style and size of shoe to meet your needs.

What to Wear

What you wear while trying on the pointe shoes is important. You will want to wear what you would wear to a class (tights and leotard), or at least something that is comfortable to move in. Being able to see your body placement while wearing the shoes will be important, so you and the pointe shoe fitter should have a clear view of your knee and hip placement.

Sizing a Pointe Shoe

The fitter will first measure your feet. He or she will measure the length and width of each foot individually. Even if you know your regular shoe size, your feet may individually be different sizes or widths. Pointe shoes are made to fit snugly on the foot, so they will fit differently from your regular street shoes or your other dance shoes.

The fitter will also look at the overall shape of your feet. Some dancers may have tapered toes, a second toe that is longer than their big toe, or spaces between their toes. The fitter will also look at your instep and arch, and may ask you to rise on demi pointe barefoot. All of these qualities will provide information to the fitter to help them decide what styles of pointe shoes will work best with your feet.

Most feet fall into one of the following general categories:

Greek Foot

This foot type has a second toe that is longer than all the others. The width tends to be narrow to medium. If a pointe shoe is too short and doesn't allow the second toe to lie flat, it can bend into a hammer toe.

Egyptian Foot

This foot type has a long first toe and the rest of the toes taper. The width tends to be narrow to medium.

Giselle/Peasant Foot

This foot type, usually easy to fit, has at least three toes the same length and the toes tend to be short. The width tends to be medium to wide.

The Compressible Foot

Many dancers have fine-boned, delicate feet to go with their thin, fine-boned bodies. These feet are usually highly compressible in the metatarsal area. If you gently squeeze the sides of the foot at the metatarsal the bones will move easily. With Greek or Egyptian types, there is not a great deal of flesh between them.

Standing flat, this foot may create a relatively wide footprint, because the bones spread out to the sides. But en pointe, the foot compresses and the bones squeeze into one another. A point shoe should be fitted to your feet when they are at their widest-in a deep demi-pile on one leg. In this position, the big toe should just touch the end of the shoe.

Bloch Pointe Shoes for Beginners

Bloch is unusual in having three pointe shoes designed specially for beginners, one for each type of foot. The "beginners" tag means they're priced at the budget end of the range, with few "fancy" features, and are very supportive.

Amelie is a somewhat tapered shoe, best for a Grecian foot. It has a heat-activated paste which molds to the foot during the first few hours of wear - then you simply coat the inside of the box with shellac or jet glue, and the shoes will hold that shape.

If you have square (Giselle) toes, the Amelie won't suit you - but the Aspiration may. It's a durable budget shoe designed for new students.

Bloch's third beginners' pointe shoe, for Egyptian feet, is the Sylphide, which offers a rounded toe to make it easier to roll up en pointe.

Unfortunately, just because Bloch has three shoes to offer, that doesn't mean one of them must fit your feet. There are other factors to consider, like the length of your toes or the profile of your foot.

There are one or two more "student" or "beginner" shoes made by other pointe shoe makers, but the bottom line is - find yourself a shoe that fits, regardless of its label. That's the right shoe for you.

Trying On Pointe Shoes

After your feet have been assessed, the fitter will bring out a large number of pointe shoes in different styles and sizes. At this time, you will be trying on pointe shoes without padding, because different types of padding will alter the way a shoe fits.

All five toes should lay flat in the shoe, and the tip of your longest toe (whether it is your big toe or the next one) should just barely touch the end of the shoe. If your toes are buckling in the shoe, then the shoe is too short. If your toes are squished together or overlapping, then the shoe is not wide enough. At this point, you will need to tell the fitter how the shoe feels, or you may end up with an improperly fitting shoe.

Once you find a shoe that you think fits well on your toes, the fitter will ask you to put one foot up on a step or platform, up on your toe. The fitter will want to see that the shank (the wooden sole of the shoe) is straight. If it is twisting off to one side, then you will need a wider shoe. If the fabric at the back of the shoe is baggy, you will need a narrower or smaller shoe. There should be about a pinch of room at the back, meaning that the fitter should be able to slightly pinch the fabric at the back of the shoe without touching your heel while you are up on your toe.

The fitter will finally ask you to hold onto a shelf or barre in the store and ask you to rise up on both feet into pointe. He or she will then recheck all of the fittings, now that the entire weight of your body is on the shoes. When you have found the pair of shoes that correctly fit in all angles, then you will be able to select padding.

How to Choose Padding for Your First Pointe Shoes

The store should have samples of padding that you can try with your shoes. You should try as many types of padding as possible, to make sure that you are getting the most comfortable combination. Some dancers use loose lambs wool, wool pads, gel pads, gel pouches, silicone pouches. there are many options, and it will depend on the dancer and the shoe.

The Benefits of Laughter

"Angels fly because they take themselves lightly" (G.K. Chesterton)

My grandmother used to tell me stories of the "little people", magical beings who were always happy. They were children; no adults existed in this happy place. I often think about how they mirror our real world. As children, we find pleasure and delight in everything. so what happens to that playfulness as we grow older? Can we get it back?

William Fry, M.D., professor of psychiatry at Stanford University Medical School and expert on health and laughter, reports the average kindergarten student laughs 300 times a day. Yet, adults average just 17 laughs a day. Why the difference? Are we too uptight, too tense? Do we take life too seriously? Isn't it time we learned how to relax? We don't stop laughing because we grow old; we grow old because we stop laughing. So, if we want to fly like the angels and share in their happiness, we'll have to follow their example and take ourselves lightly.

Benefits of Laughter

1. When you make fun of yourself, you take away the power of other people to make fun of you.

2. Laughter dissolves tension, stress, anxiety, irritation, anger, grief, and depression. Like crying, laughter lowers inhibitions, allowing the release of pent-up emotions.

3. Medical researches have found that laughter boosts the immune system. The study of how behavior and the brain affect the immune system is called psychoneuroimmunology. Though still in its infancy, this science is rapidly gaining much attention as mankind strives to understand the mind-body relationship.

4. Laughter reduces pain by releasing endorphins that are more potent than equivalent amounts of morphine.

5. Humor helps integrate both hemispheres of our brain, for the left hemisphere is used to decipher the verbal content of a joke while the right hemisphere interprets whether it is funny or not.

6. Laughter adds spice to life; it is to life what salt is to a hard-boiled egg.

7. Develop your sense of humor and you will find you are more productive, a better communicator, and a superior team player.

8. Everyone loves someone who can make them laugh. The more you share your sense of humor, the more friends you will have.

9. Humor brings the balance we need to get through the turbulence of life comfortably.

10. A sense of humor can help you accept the inevitable, rise to any challenge, handle the unexpected with ease, and come out of any difficulty smiling.


Ways to Laugh More Often

Watch a funny movie or TV show.
Go to a comedy club.
Read the funny pages.
Seek out funny people.
Share a good joke or a funny story.
Check out your bookstore’s humor section.
Host game night with friends.
Play with a pet.
Go to a “laughter yoga” class.
Goof around with children.
Do something silly.
Make time for fun activities (e.g. bowling, miniature golfing, karaoke).
If you are visiting someone in the hospital, why not bring funny greeting cards and humorous books instead of flowers to brighten his/her day?

The Benefits of Small Acts of Kindness

After the horrific shooting in Newtown, CT, I've been thinking of all the kind acts that people are doing to help the families cop with such a horrible loss. It's wonderful when strangers can come together and help each other through acts of kindness, however small.

And small acts of kindness and compassion are healthful for the giver's own body, mind, and soul. So why, then, don't we practice them all the time?  Why does it take tragedies to make people aware of  others? I suspect the answer is that we forget.

We forget that looking a person in the eye and smiling may make their day. After all, this person could be terribly lonely, and this simple gesture has made them feel less invisible, if even just for a moment.

We forget that using a kind and patient tone can make others feel more comfortable, especially when they are younger or work for us. It is easy to be demanding, but far kinder to be gentle.

We forget that some of our friends and family members may be in great pain. Perhaps we should remind ourselves to pause and to look for signs something may be amiss with a loved one.

We forget that the world does not revolve around us as we get too tied up with our plans, our goals, our lives and our agendas. By doing some volunteer work on a regular basis, we can temporarily be removed from our self-centeredness and perhaps be inspired to offer our time and resources more often.

We forget that hugs are free, and that we tend not to give them to the people who need them the most. Have you hugged anyone today? Better yet, do you know someone who is down and having a hard time? If so, one single hug could make a world of difference.

We forget that sometimes we show kindness by listening more and talking less. Sure, we have a lot on our minds but so do other people.

We forget that giving is often better than receiving and that we should try to give without expectations. That means, when we give of ourselves or give someone something, we should not expect anything in return.

We forget that our children's teachers are overworked and underpaid. How about sending your child to school tomorrow with a special treat for the teacher? A Starbucks gift card would be greatly appreciated, as an example.

We forget that our neighbors may be struggling financially. They may be dealing with alcoholism within the family. They may be in need of a good neighbor, one who offers to help you in small, but needed, ways.

We forget that many elderly people do not get frequent visits from their family members. They spend hours alone looking out windows of their nursing homes. Why not set aside one day a week or month to visit?

One other thing that we may not realize is that acts of kindness are healthful and beneficial to us as well as those that we help.

Humans are very social beings. When we separate our selves from others, and live a solitary life, devoid of interaction, we lose that zest for life. We need connections in order to thrive and grow as individuals. In isolation, we fail to adapt to change or deal constructively with stress. As a result, our health, relationships, and work become unbalanced.

It is often amidst helping others that we learn the most about ourselves. When we project kindness into the world is it that which we receive in return.

Kind experiences foster a strong sense of belonging. Acts of selflessness fulfill some of our deepest needs. In initiating kind actions, we help ourselves, and those around us. Everyone benefits as the community becomes stronger, more united. A stranger smiles, and we feel blessed to be a part of it all. As we help one another, we rekindle that lost sense of community. Use the power of kindness to create the world in which you wish to live..

Flying High: Swing Dance Aerials

Part of Swing Dancing's fun is performing Aerials, also know as air steps or acrobatics - specific dance moves where ones feet leave the floor. Aerials look best when they have a smooth, flowing, effortless look to them and may need adjustments or 'tweaking' in order to fit in with specific music being used. Please be advised that the performing of aerials can be highly dangerous and need to be choreographed and well practiced in advance before being attempted on the dance floor.

Swing Dance aerials began back in the 1920's - '30's at New York's Savoy Ballroom and were likely developed from old style vaudeville and circus performances; these were incorporated into swing dance routines in order to add a bit of flashiness and visual spectacle. Viewing of footage of old style swing dancing should give any aspiring 'aerialist' a good grounding and feel for the flow and technique needed during performance.

In order to perform swing dance aerials well and with absolute safety in mind it pays to be clearly aware of the following points:

* Communication between dancing partners needs to be clear and well co-ordinated. Dance moves to be performed should be vocalized in sync by the couple and there should never be any margin of error unaccounted for. Talk through aerial routines before they are attempted and have a clear plan and mapped out set of steps before beginning. Don't leave anything to chance as it really is best to be safe rather than sorry in order to avoid painful injuries and falls.

* When the aerials being performed have a higher degree of technical difficulties attached always use spotters - a third person who can aid in a moves execution. Sometimes more than one spotter will be required and it is highly advisable that any beginner dancers be supervised and assisted.

* All dancers performing aerials should wear appropriate clothing; smooth and not too loose-fitting so as not to impede movement. Flat soled, comfortable footwear is also advisable.

* Use mats and padding where possible to cushion falls and uncomfortable landings.

* Always do a thorough pre-preparatory warm up session before launching in to aerials. The body needs to be stretched and limber with muscles utilised and ready to go. Never start aerials 'cold' or you may be prone to muscle strains and tears.

* Make sure there is sufficient space in order to perform aerials. Be aware of other people close by who could be interrupted or injured by dangerous dance moves.

When using aerials in swing dance routines it is important not to do too many; they are meant to provide interest and a touch of showiness to a dance so be thoughtful when selecting your tricks to be performed. Beginner dancers should not attempt moves outside the range of their expertise and any advanced steps should be well-planned and tried in advance under strict direction.

It is important to use the right grip when doing aerials. A standard 'lindy grip' with fingers together, palm grip with palms facing (used in lifts) or a circus grip where each partner grabs the forearm of the other to achieve a very secure, rigid hold. The safety of the dancing couple is of paramount importance so select grips that will enhance the well-being of performers and observers.

Whether performing a "Lindy Flip" or 'Kip', Waterfall, "Frankie Snatch", "Back to Back Flip", "Around the World" or even the extremely difficult move known as 'The Death Dive', dancers should be concentrating on the three main components of aerials; these being:

(1) Preparation
(2) Execution
(3) Landing

Timing is everything with aerials but if each partner, and any spotters used, have a clear understanding and innate sense of choreography concerning the basic foundation steps for performing the aerial, then a successful outcome is likely to be achieved. With aerials technical skill is more important than brute strength; remember to abort any move where the set-up and preparation seem ill-timed and wobbly.

Happy dancing!

A Fun Swing Dance Showdown




Here's a video demonstrating the Lindy Flip:

Hanya Holm: Dance Pioneer, Educater and Choreographer

The Holm technique was created by modern dance pioneer, dance educator, and choreographer Hanya Holm (born Johanna Eckert in Germany, 1893-1992), and has influenced the styles of many generations of dancers. Holm's attendance at the Institution of Emile Jacques-Dalcroze from childhood to early adulthood, as well as her time spent watching dancer Mary Wigman greatly influenced her dance technique.

After teaching at one of Wigman's German school's, Holm was sent to New York City in 1931 to start a new branch of the Wigman dance schools. From 1936 to 1967, the New York school was known as the Hanya Holm Studio, due to the need to mask the school's German ties. Hanya Holm is known as one of the "Big Four" of modern dance, along with Martha Graham, Doris Humphrey, and Charles Weidman. In 1934 at Bennington College, these four became the founding artists of the American Dance Festival.

The Holm technique stresses pulse, planes, direction, aerial design, floor patterns, creative exploration, and dance without dramatic overtones. Many are unaware of it, but part of the warm-up in the Holm technique was directly influenced by Joseph Pilates, creator of Pilates exercise. There is no specific phrasing ascribed to the Holm technique because she trained through improvisation and encouraged learning dance through discovery. With choreography, Holm was again influenced by Mary Wigman and Rudolf Laban, creator of Laban Movement Analysis, and theories of spatial dynamics. Because of these influences, Holm's choreography focused on projecting the body's movement into space; she felt conveying the idea behind choreography was more important than the dancer's technical ability. The following quote from Hanya Holm describes how she felt about conveying meaning through choreography: "Dances without purpose have false starts and stops."

"Metropolitan Daily" was a dance work by Holm that became the first modern dance composition to be televised when it aired on NBC. In 1948, when Holm choreographed "Kiss Me, Kate" for Broadway, the Labanotation score was the first choreographical work to be copyrighted in the United States. With this show she had become an established choreographer for Broadway musicals. John Martin summed up her accomplishments in January 1949, stating, "Nobody could have stepped more gracefully into a new field than Holm has done in her transition from the concert dance to show business."

Her most significant success came in 1956 with the musical My Fair Lady, based on George Bernard Shaw's Pygmalion, with such stars as Julie Andrews, Rex Harrison, and Stanley Holloway. It was the biggest hit Broadway had seen since Oklahoma!, and it turned out to be even bigger. Everything in this show, and particularly in what Holm had to contribute, was deemed flawless by critics. One could feel Holm's hand in every effective entrance, in the grace with which the actors danced, or rather acted as if they danced. It was the overall pattern of motion which ran through the entire show. She produced many more works for Broadway musicals and concert dance, including "Ballet Ballads" in 1948, "Camelot" in 1960, and "Anya" in 1965.

Holm taught her dance technique at Colorado College, the University of Wisconsin, New York's Musical Theatre Academy, the Alwin Nikolais School, and Julliard. Notable dancers that were shaped by the Holm technique include Mary Anthony, Valerie Bettis, Glen Tetley, and Alwin Nikolais. She won a long list of honors, among them a Drama Critics' Award for Kiss Me, Kate and a Critics Circle Citation for The Golden Apple "as the best musical of the season" in 1954. She was nominated for a Tony for My Fair Lady in 1957 and received an honorary degree of Doctor of Fine Arts from Colorado College in 1960. Holm was still active as a teacher until her 92nd year, and before her failing eyesight forced her to retire she received the highly endowed Squibb Grant.

In 1990 the Dance Magazine Award was bestowed upon her for her unique contribution to dance in America. Holm died on November 3, 1992, in New York City.

Through the Ranks: Ballet Company Hierarchy

At Right - Alicia Alonso

Ballet companies often rank their dancers in a hierarchy emulating the French court structure that first produced ballet. Casting and salary decisions are made according to these designations. The system is most practical for large companies staging the classical ballets in which roles are identified by different levels. For example, in The Nutcracker the Sugar Plum Fairy is a principal role, "Spanish Dancer" is usually a solist, Flowers and Mice usually are Corps de Ballet members.

The Paris Opera Ballet is an example of a many tiered system:

Etoile - Star. The leading dancers of the company.

Premier Danseur or Premiere Danseuse - Principal dancers who do top soloist parts as well as leads.

Sujets - Soloists(fformerly divided into grand sujet and petit sujet.)

Coryphees - Leading dancers in the Corps de Ballet.

Quaddrilles - (Also formerly divided into two ranks), Corps de Ballet.

Stagiaire - The newest dancers, equivalent to an apprentice or trainee.

The Royal Ballet has Fewer Levels:

Principal - The highest rank. Dancers at this level generally perform the leading and most featured roles in a ballet. To be a principal is to be recognised as one of the leading dancers in the company and a number of the world's most celebrated dancers have been principals with the company.

First Soloist - Rank where dancers are being considered for promotion to principal level. A dancer at this rank will dance a varied repertoire of the most featured soloist roles, while understudying and having the opportunity to perform leading roles when a Principal dancer is either injured or unavailable.

Soloist - There are normally 15-20 soloists in the company. As the title suggests, dancers at this level perform the majority of the solo and minor roles in a ballet, such as Mercutio in Romeo and Juliet or one of the Fairies in The Sleeping Beauty.

Principal Character Artist - Rank given to members of the company who perform important character roles in a ballet. These roles are normally very theatrical and often include character dance and mime. Examples include Drosselmeyer in The Nutcracker Most Principal Character Artists in the Royal Ballet are older dancers who have been high ranking members of the company.

First Artist - Rank for the most senior members of the Corps de Ballet. Dancers at this level have the opportunity to perform some of the Corps more featured rôles, such as the Dance of the Cygnets in Swan Lake. First Artists will occasionally be cast in minor Soloist roles if they are being considered for promotion.

Artist - Equivalent to the Corps de Ballet. There are more dancers at Artist level than any other rank in the Royal Ballet and nearly all are trained at the Royal Ballet School, with most graduates of the school entering the company at this level.

Prima Ballerina is rarely an official title. It is sometimes used to refer to a prominent female principal dancer.

Prima Ballerina Assoluta is an old-fashioned term that means the highest-ranking ballerina.

The title or rank of Prima Ballerina Assoluta was originally inspired by the Italian ballet masters of the early Romantic Ballet and was bestowed on a ballerina who was considered to be exceptionally talented, above the standard of other leading ballerinas. The title is very rarely used today and recent uses have typically been symbolic, in recognition of a notable career and as a result, it is commonly viewed as an honor rather than an active rank.

The first recorded use of the title as an official rank, was by the renowned French balletmaster Marius Petipa, when he bestowed it on the Italian ballerina Pierina Legnani in 1894. He considered her to be the supreme danseuse in all of Europe. Legnani performed with the St. Petersburg Imperial Ballet from 1893 until 1901.

The second ballerina to be given the title was Legnani's contemporary Mathilde Kschessinska. Petipa, however, did not agree that she should hold such a title; although an extraordinary ballerina, she obtained the title primarily via Imperial prestige.

The only two ballerinas to hold the title Prima ballerina Assoluta in the Soviet Union were Galina Ulanova and Maya Plisetskaya. Other dancers awarded the title include Alicia Alonso from Cuba and Dame Alicia Markova, Dame Margot Fonteyn and Alessandra Ferri from England. The Kirov administration bestowed the coveted title on one of Nureyev's most frequent partners, the Swiss-born American Eva Evdokimova in the 70's when she appeared (without Nureyev) with the company as a principal guest artist. She had been given the title of "prima ballerina" by the Berlin Senate in 1973. Other dancers awarded the title include Anneli Alhanko from Sweden.

Rudolf Nureyev considered the ballerina Cynthia Gregory to be the only American ballerina deserving of such a title. He also described French dancer Yvette Chauviré as a "legend". Another dancer that never held the title is the great Anna Pavlova, probably the best known ballerina in history.

In South Africa, the only ballerina granted the title Prima Ballerina Assoluta was Phyllis Spira (1943-2008).

The Royal Ballet is one of the few ballet companies in the world to have staged performances by three dancers considered to be Prima Ballerinas Absolutas. The first was Dame Alicia Markova who, having been mentored by Ninette de Valois as a member of Serge Diaghilev's Ballets Russes, was invited to become one of the founder dancers of the Royal Ballet. She was designated the company's first Prima Ballerina, and was later recognized as a Prima Ballerina Assoluta.

Margot Fonteyn spent her entire career dancing with the company and was appointed Prima Ballerina Assoluta by Queen Elizabeth II. Alessandra Ferri began her career with the Royal Ballet; she was later appointed Prima Ballerina Assoluta of La Scala Ballet in Milan.

The Royal Ballet has staged performances by Roberto Bolle, one of the only male dancers to hold the male equivalent of the title, who was appointed an Etoile (Star) of La Scala Ballet. He continues to be a Principal Guest Artist with the Royal Ballet.

Prima Ballerina Assolutas in Chronlogicical Order

No	Name	Country	Date
1	Pierina Legnani	Imperial Russia	1893
2	Mathilde Kschessinska	Imperial Russia	ca. 1906
3	Alicia Markova	United Kingdom	1933
4	Galina Ulanova	USSR	1944
5	Alicia Alonso	Cuba	1959
6	Maya Plisetskaya	USSR	1960
7	Eva Evdokimova	USA	1976
8	Margot Fonteyn	United Kingdom	1979
9	Anneli Alhanko	Sweden	1984
10	Phyllis Spira	South Africa	1984
11	Alessandra Ferri	Italy	1992

The American Ballet Theatre and New York city Ballet, like most major American companies, are even more streamlined. Both also have apprentices.

Principal
Soloist
Corps de Ballet

Can Dance Musicality be Acquired?

There is an essential interconnectedness between music and dance. the poet Ezra Pound wrote, "Music begins to atrophy when it departs too far from the dance." It's easy to take music for granted, or to treat it merely as a means of keeping time. Music inspires, it motivates, and it actually helps you to dance better.  But can

Being "on the music" means that you reach the correct position on the appropriate count. Being "late" or "behind the music" means that you're not getting where you must be on time. Musicality, however, is more than just being on the music. It's the ability to hear subtle qualities and structures within the music and then communicate them through your dancing. Can this be learned? I would say yes.

Music provides the fundamental pulse; in choreography, its rhythm and tempo indicate where you should be at certain specific moments. In some modern dance classes the accompaniment is minimal - just a drummer. But even a lone drumbeat can suggest the quality and character of movement;its accents can remind you to brush out forcefully or close quickly. When melody and harmony join rhythm and tempo, music offers abundant information and guidance to a dancer.

Allow the personality of the music to bring out the same in yourself. If the music is bold and big, dance bold and big. Delicate music calls for delicate dancing. Unless a choreographer is trying for a special effect, let staccato or pizzicato music inspire your own sharpness, clarity and attack.Let legato music help you fluidly connect your steps in smooth, supple, elongated lines. Work on becoming versatile enough to do either comfortably.

Then take it to the next level and consider the phrasing. Movement phrases connect individual steps the same way that musical phrases connect individual notes. Think of your dancing as a pearl necklace: each pearl is beautiful by itself, but the whole necklace is the finished art. Listen for the way the music arcs or changes dynamic; notice the climaxes and cadences. think about what you would emphasize if you to sing the melody and shape your dancing accordingly.

Musical training and learning to read music can only help you as a dancer; at minimum, listen to music outside of class to improve your musicality. You can train yourself to identify rhythm by allowing your hand to beat gently along with the music. It will automatically accent the downbeat, enabling you to distinguish between a march, which is in 4/4 time, and a waltz, which is in 3/4 time. Take "Waltz of the Flowers" and listen for the "one two three one two three" rhythm. then try "Prokofiev's "Dance of the Knights from Romeo and Juliet and listen for the heavy "one two one two one two" of its rhythm.

Musicality also helps solve problems. When a turn isn't working, or you're behind in a speedy combination, listen to the rhythm and accent of the music. You may turn better by changing your rhythm, or jump quicker by changing the accent. Music can give you the push you need to get through a long, tough combination.

Your teacher might tell you not to rely on counting in order to discourage robotic dancing. While cultivating your own musicality is very important, don't lose sight of the fact that counting is still an essential skill for dancers. Some dancers are naturally musical, but for those who need time to develop an ear, counting helps. If you're in a group or dancing to complex music, counting gets everyone in unison. Some choreography just needs to be counted. toward the end of Concerto Barocco, for example, the dancers hop and move their arms in fast counts of four while the music is in slow counts of three. If they didn't count, they'd be hopelessly confused.

Teachers can play a great role in helping dance students develop their own style of musicality by giving a combination at a certain tempo with a certain kind of music, like a slow waltz, then, keeping the same combination, speed up the tempo and change the tempo to 6/8, for example. While some teachers might not play with tempo in this way, you can still practice this exercise after class by setting the combinations you learned that day to new music.

A lot depends on the age and level of each dancer. For younger students, emphasis should be placed on basic elements, such as rhythm, keeping time, breath and character of the music, all according to the accompaniment given in class. As a student advances, teachers should pay more attention to playing with and stretching the phrasing and expressing the subtle nuances.

Music educators know that movement is a great tool in teaching music theory. Dance educators and dancers can learn and expand their knowledge and musicality with just a bit of what these musicians put into practice in their classrooms. As Balanchine once said, "Dance is music made visible." He phrased it perfectly.

When Life Throws You a Curve: Dancing with Scoliosis

Scoliosis is an abnormal curve in the spinal column. Though the spine has natural curves, none should be in a lateral direction. The curvature of scoliosis, viewed from behind, can appear as an S or C shape and is sometimes accompanied by a rotated rib cage (one side rotates forward and the other back) or by an uneven pelvis (one side sits higher than the other).

Diagnosis

Scoliosis remains a mystery. According to Dr. Bonnie Weigert, associate professor of rehabilitation medicine and a spine specialist at the University of Wisconsin Hospital and Clinics, “most of the time we don’t know why scoliosis happens. There is some speculation that people who have lax or loose ligaments may have more risk for it.”

That could be why the diagnosis shows up often in dancers, gymnasts, and swimmers. Others speculate that it is hereditary or the result of a sudden growth spurt, as my doctor suspected was the case for me. I had grown five inches during the previous year.

Unless screening is done, the imbalance can go undetected in many teenagers. (Eleven is often recommended as the age to begin screening.) Suspect scoliosis if you see any of the following in a dancer who is standing straight:

One shoulder sits higher or one shoulder blade is more prominent. (The shoulder blade discrepancy can be seen more clearly when the dancer bends forward, rounding the spine.)
One side of the ribcage protrudes more than the other.
The dancer seems to be leaning slightly sideways.
The presence of asymmetry does not always indicate scoliosis, but it might be grounds for seeking a medical opinion.

Early detection reduces the possibility of complications. A progressing curvature can lead to back pain or arthritis in the spine, negative body image, and in severe cases, increased pressure on the lungs and heart. But, Weigert adds, “more severe curves are fortunately less common.”

Treatment

Options for treatment 30 years ago were limited: surgically install an immovable titanium rod into the spinal column and/or fuse the vertebrae, thus limiting much of the spine’s mobility; wear a cumbersome brace for 23 hours a day for up to five years; or do nothing and see what happens.

Weigert, who studied dance most of her life, has incorporated her understanding of the art form into her medical practice. She agrees with the treatment options I was given at age 17. “In general, curves of less than 30 degrees can be watched; curves that are between 30 and 40 degrees should probably be braced until the person has stopped growing,” she says. “And sometimes curves of greater than 50 degrees can worsen with age.” When considering the surgical option, she is quick to state that the procedure might stop the curve from getting worse, but it won’t straighten the spine completely. And after surgery, the person’s ability to dance could be quite limited.

The severity of a spinal curve, measured in degrees, is called a Cobb angle, formed by drawing intersecting lines through the vertebrae as pictured on an X-ray. The higher the Cobb angle number, the more severe the curve; at 40 degrees or greater, bracing or surgical action is typically considered. Once the skeletal system has finished growing, bracing is often not effective.

Medical treatment options for scoliosis haven’t changed much in the 30 years since my diagnosis. However, rigid plastic braces have been replaced by a more pliable bracing option that allows more freedom of movement while training the spine into a straighter position. Some of the new braces can even be worn during dance class.

The Schroth method of physical therapy, first developed in the 1920s in Germany, has made a recent appearance in the United States but remains relatively obscure. The method, a series of breathing, strengthening, and stretching activities that must be performed daily for life, is designed for each individual. In some cases, the method has been effective in reducing the degree of spinal curves.

Many dancers find relief from yoga, Pilates, and trigger point massage, all of which improve strength, flexibility, breathing, postural awareness, and motor control.

Dancing with Scoliosis

Continuing to dance can be the best way to prevent scoliosis from worsening. Weigert says, “The strength and flexibility that dancers develop and maintain is probably of benefit with scoliosis.”

And in her book Getting Started in Ballet: A Parent’s Guide to Dance Education, Anna Paskevska states, “The very nature of ballet training—working both sides of the body equally and in harmony—helps to correct the misalignment that scoliosis creates.”

Dancers’ experiences in coping with the limitations of scoliosis vary, often according to how severe the curvature is. One of them, Afro-Caribbean/break dancer Danez Smith, didn’t let surgery stand in his way. “Surgery was really my only option because of the severity of my curve, which was 65 degrees,” he says. Diagnosed at age 14, he had surgery two years later. “I knew after surgery my dancing wouldn’t be the same.”

Smith explains his ordeal with an upbeat attitude, claiming that it was simple. “They opened up my back, braced the spine with some nuts and bolts and a metal rod, and took a little of my hipbone to help keep things in place.” He laughs. “OK, maybe it wasn’t that simple. I was left with two big scars, five months’ worth of rehab, and a 25-degree curve, which is still pretty up there. I was a rebel to the rehab process though, and one month after the surgery I was back in the studio break dancing.”

Olivia Templin, an undergraduate dance major at the University of Wisconsin–Madison, does feel that her mild scoliosis affects her dancing. Before she discovered that she had a curvature, she knew that something was off, especially in ballet class. The muscle imbalances and spinal stiffness that accompany scoliosis can cause some pain and occasionally some motor control issues, and Templin experienced both. “When I switch between right and left sides, there are times when it feels like I’m not even doing the same movement,” she says.

After her diagnosis a few years ago, she was referred to physical therapy. Finding no relief from her chronic pain, she gave up the physical therapy and began scouring the Internet for information. “There seem to be only two ends of the spectrum that are addressed with scoliosis: either you don’t have it, which is wonderful, or you have it bad enough to receive medical attention,” Templin says. “If you don’t fall into either of those, you just have it and that’s it.” Dance students who have scoliosis often experience considerably more back pain than accompanies most dance training, and Templin feels that it’s important for teachers to understand that.

Former Pacific Northwest Ballet dancer Kerry Parker, 39, now a principal dancer with Kanopy Dance Company, continues to dance and perform full force with scoliosis. When she was a child, her family doctor recommended putting her in a brace, but her mother felt she’d be better off in ballet class. “Personally, I always thought that ballet was good for my scoliosis,” Parker says. “My right leg goes higher into arabesque, and my left leg goes higher to the side, but I’ve always worked to counterbalance my body, so the scoliosis doesn’t affect my dancing at all.”

Dealing with imperfection

Dancers try hard to hide imperfection, but in the case of scoliosis, it may be best to acknowledge it. “I have seen dancers who have developed enough strength and maintained enough flexibility in their curve that they can minimize its appearance, but that is not an easy thing to do,” says Weigert. The most important thing dance teachers should understand, she says, “is that they may not be able to correct the posture and placement of a dancer with scoliosis. The dancers may have to compensate elsewhere, which may allow them to dance with a better cosmetic appearance but could put additional strain on other areas.”

In my own teaching, I strive to work as symmetrically as possible, trying not to demonstrate combinations only on one side. And I’ve developed a pre-class ritual series of back stretches for myself, to release specific areas of tension. These methods are appropriate for any dancer. With scoliosis, one side of the spine is almost constantly in muscle spasm, so my theory is that targeting that area with stretching can help balance the spine. Still, what brings me relief might not work for others. Since each case is different, if a teacher provides a range of ideas that might bring relief, it can allow students to learn what is most beneficial to them.

I’ve also recognized that students who have scoliosis need encouragement and understanding. Scoliosis has an emotional as well as a physical effect. And when young dancers learn that their teacher has it, they realize there’s no reason they cannot pursue a career in dance.

Smith does feel that scoliosis has changed his life. “Every time I see some amazing dancer,” he says, “I get a little emotional and think about how life would be without scoliosis.” But, almost five years after his surgery, he can do much more than he ever thought would be possible.

For more information:

Scoliosis Care Foundation

Zumba Your Way to Fitness

The newest alternative form of group exercise in the United States is the new Latin aerobic dance craze, Zumba. Beto Perez was inspired to improvise the non-aerobic Latin music into the aerobic dance classes he taught in 1990 in Columbia. He used some of his own favorite music cds. Perez later moved to the United States in 1999. There he joined with Alberto Perlman and Alberto Aghion to market his new Zumba fitness workouts through demo classes, videos, dvds and infomercials worldwide by 2007. According to the most recent positive news reports and increased sales they have accomplished a successful marketing strategy.

People of all ages and walks of life are getting enthused by this creative combination of Latin merengue, salsa and samba dance moves mixed with aerobic exercise. There are currently two levels of classes available:

1) Basic Zumba classes teach new instructors the basic Zumba steps during a workshop. After completion of the one or two day workshop, instructors are then certified to teach and choreograph different variations of the basic Zumba dance moves in their classes.

2) Zumba Gold classes are for the older, less active adult with special attention to balance issues, joint issues and safety issues. A Zumba chair workout is also available. Instructors who earn this certificate through Zumba Gold workshops are restricted to teach only Zumba Gold classes.

The proper attire to wear to attend Zumba classes are loose fitting workout clothes. The right shoes are the ones that fit your feet best according to your body type and own personal dancing style. Be sure they are well cushioned and allow side to side movement freely as well as have low traction for easy pivoting during the class.

Zumba aerobic dance classes have spread to health clubs, community centers and even to some corporations. There are no wrong dance moves according to some fans of this new dance aerobics. It is whatever is fun for you as you enjoy the Latin music.. Some health spas have incorporated Zumba dance with water aerobics using the support of the water to lessen the impact on joints. The amount of calories burned varies greatly (500-800 calories) according to how much effort and the intensity level of your instructor during a one hour class.

There is an official Zumba website, click here where you can find more information about Zumba classes and order DVD's. The website is equipped with a Zumba class finder within any given mileage distance of any city and state or zip code you key in. The location, day and time of class make it easy to find classes to fit anyone's busy schedule

Zumba Video with Beto Perez