Ballet Teacher Research Articles

Perspectives of Ballet Dancers on Causes of Their Injuries and Implementation of Injury Preventive Measures by Ballet Teachers and Masters.

Ballet dancers have a high injury risk. We aimed to gain insight into the causes for acute and overuse injuries in ballet dancers and the level of implementation of injury prevention by ballet teachers/masters, as perceived by dancers. An international cross-sectional online-survey was based on the Fit-to-Dance Questionnaire and literature. Adult amateur, pre-professional, and professional ballet dancers reported the perceived causes of their injuries sustained in the previous 2 years. Multiple answers per injury were possible. Also, dancers rated the level of implementation of measures to prevent injury by their ballet teachers and ballet masters based on 21 items using a 5-point Likert scale. Causes were analyzed per-injury as well as per-dancer. 188 ballet ensembles and 51 dance organizations were contacted, from which 192 ballet dancers (mean age 27 ±7.8 yrs, 83% females) responded. 119 dancers (62%) reported 203 acute and 164 (85%) reported 469 overuse injuries. Fatigue was the most frequently perceived cause for acute injuries in the per-injury (n=89, 43.8%) and per-dancer analysis (n=63, 32.8%). For overuse injuries, pressure from the teacher/master was most frequently perceived as cause in the per-injury analysis (n=240, 51.2%), specifically in pre-/professional dancers (n=233, 61.3%). In the per-dancer analysis, fatigue/overtraining scored highest for overuse injuries (n=107; 55.7%). Other causes were previous/repetitive injuries (acute-per-injury 26.1%, acute-per-dancer 22.4%; overuse-per-injury 46.3%, overuse-per-dancer 53.1%) or erroneous dance technique (acute-per-injury 24.6%, acute-per-dancer 21.9%; overuse-per-injury 47.8%, overuse-per-dancer 45.3%). With regard to perceived level of implementation of injury preventive measures by ballet teachers/masters to prevent musculoskeletal injuries, 2 items received high ratings, 12 moderate ratings and 6 low ratings. Fatigue and pressure accounted for the majority of perceived causes for injuries. Perceived support by ballet teachers/masters regarding injury prevention was moderate to low. Future research should focus on the awareness, attitudes, and the important role of ballet teachers/masters for injury prevention in dancers.

Supported or Thwarted? An Exploration of Autonomy Support in Ballet Teaching Informed by the Circumplex Model

ABSTRACT In this small-scale study we investigated ballet teachers’ views and experiences of autonomy and autonomy support. For this purpose, we conducted semi-structured interviews with six ballet teachers in a prestigious pre-professional ballet school in Europe. Findings indicate that when and how autonomy was provided seemed to be impacted by whether a teacher either challenged or adhered to ballet ideals. By using the Circumplex Model of motivation, three different levels of autonomy support could be identified: high autonomy support, moderate autonomy support, and controlling approaches. The findings present a nuanced picture of ballet teachers’ views, experiences, and teaching styles and suggest that dance educators move on a continuum of autonomy supportive and controlling behaviors.

Why Ballet Teachers Shouldn't Teach Hip Hop

Why Ballet Teachers Shouldn't Teach Hip Hop

Жизнь и творческое наследие Рудольфа Нуреева: «эффект присутствия» продолжается

The essay describes the life and creative heritage of the outstanding ballet dancer and choreographer of the XX century Rudolf Nureyev and was written in connection with the 85th anniversary of his birth. The work consistently sheds light on the main stages of Nureyev’s life and creative activity, paying special attention to the period of his studies at the Leningrad Choreographic School, where A. I. Pushkin, a well-known ballet teacher, had a significant influence on the formation of Nureyev as a dancer. In conclusion, the author sums up, noting that the contribution of the outstanding figure to the development of dance art remains relevant today: various festivals dedicated to his memory are held in Kazan and Ufa, including the international festival “Small Nureyev”, numerous articles, books are written, performances are staged that are concerned with the life and work of the dancer who acquired the status of a legend of the XX century.

Work that: Kamala Harris, resistance, and the black dancing body

Work that: Kamala Harris, resistance, and the black dancing body

Ballet Pedagogy and a “Hard Re-Set”: Perspectives on Equitable and Inclusive Teaching Practices

In her scholarship on pedagogy, Gloria Ladson-Billings describes COVID-19 as a call to re-set education using a more culturally relevant pedagogy. As ballet teachers and researchers working in higher education and pre-professional settings, we teach a form of dance often associated with the characteristics of white supremacy. Through this collaborative institutional ethnography, we generated methods for posing questions, critiquing choices, and imagining alternatives to create more equitable educational settings. We connect the process of addressing and challenging systemic exclusions in ballet with tangible steps toward creating more inclusive classes and performances that value the joy and pleasure in moving.

Both Upper and Lower Limb Movements Contribute to Aesthetics of the Piqué Arabesque in Ballet.

This study aimed to identify the factor structures-which are the predominant frameworks for describing the basic dimensions of a concept-that contribute to the aesthetics of body position in ballet. This study was composed of three-dimensional movement analysis and subjective evaluation. Fourteen ballet dancers participated in the three-dimensional movement analysis. Thirty-six reflective markers were attached to the dancers' bodies, after which the dancers performed a piqué arabesque, a position in which the weight transfers from one leg to the other. This movement was captured using eight optical cameras and one video camera. Biomechanical parameters, such as the joint angle and velocity of each body part, were calculated from the coordinates of the markers. Twenty-eight videos recorded in the three-dimensional movement analysis were viewed by 51 observers with ballet experience. The observers subjectively evaluated the videos through four category pairs-"beautiful-ugly," "like-dislike," "interesting-not interesting," and "good-bad"-on a five-point semantic differential scale. Two groups, the top and bottom 30%, were extracted based on the "beautiful-ugly" rating and compared using an independent t-test. In addition, exploratory factor analysis was performed on the biomechanical parameters that showed significant differences. Five factors were identified: "stability of the right distal upper limb and upper body," "torso displacement speed," "stability of the left distal upper limb and line of the support leg," "height of the gesture leg," and "stability of the support leg around the hip joint and line of the limbs on the gesture leg side." These results indicate that the movements of both upper and lower limbs contributed to the aesthetics of the ballet position of piqué arabesque. These findings will be useful for ballet teachers and dancers to understand the intrinsic aesthetics of movements.

Dumbells and Dancers?

Did your ballet teacher ever warn you that skating or weightlifting could ruin your muscles? Cross-training is now recommended for dancer strength and versatility—but you definitely need some guidance to get started.

ВЕЛИКИЕ И ПРЕКРАСНЫЕ ЖЕНЩИНЫ ВОСТОКА

This article analyzes the activities of two of the greatest women of the East, Tamara Khanum and Rosa Karimova, their life and work, heroic and selfless work during the Second World War. The article also highlights their difficult life path, provides information about how Tamara Khanum was called “Eastern Isadora Duncan”, how the Queen of Great Britain personally presented the outstanding artist with a high award for her contribution to art. And also, about Roziya Karimova – an Uzbek ballet dancer, choreographer, teacher, art critic, connoisseur and founder of the theory of Uzbek dance.

小牧正英の師「キャトコフスカヤ」の履歴 白系露人事務局資料を元に

小牧正英の師「キャトコフスカヤ」の履歴 白系露人事務局資料を元に

Democratic and Feminist Pedagogy in the Ballet Technique Class

ABSTRACT Whereas traditional ballet classes have been seen as authoritarian and patriarchal in the past, the recent shift toward more feminist and democratic teaching and learning styles within the context of higher education allows for new ways of learning and teaching to emerge. To contribute to the discussion surrounding alternative ways of learning and teaching, a somatic imagery intervention was used as a tool to support a more democratic way of teaching ballet. Through the development and employment of such a tool in an undergraduate ballet technique class, findings indicated that it was successful in improving students’ approach to movement and engagement in the process of learning ballet.This research takes place within a UK higher education (HE) institution that offers, as one program of study, an undergraduate degree in ballet education. The purpose of the degree is to train ballet students to become ballet teachers in a world where pedagogical aims and desires are continually shifting.

Spiritual experiences of post-performance career ballet dancers: a qualitative study of how peak performance spiritual lived experiences continued into and influenced later teaching lives

ABSTRACT This study focusses on how peak performance lived experiences (identified as spiritual) during a dance career continued into and influenced the later teaching lives of former ballet dancers. The study is located in academic discussion of Western mystical and spiritual experiences. Five professional ballet teachers, who were formerly professional ballet dancers, were interviewed using an interpretative phenomenological analysis qualitative research approach. The three major themes identified indicated that the dance career peak performance spiritual lived experiences: continued into later professional teaching life; influenced teaching techniques; and changed world life points of view. These findings confirm previous research and provide significant in-depth insights of the focus area under review. A table with a summary of the findings is included.

Unlocking the third space in a global world: The intersection of technology-enhanced learning, intercultural competencies and ballet education

In many countries including Croatia the government has identified the importance of embedding intercultural competence across different stages of education. This article explores the definitions and frameworks of intercultural learning and analyses how and why intercultural education is relevant for any subject including ballet. It is argued that technology can play a major role in the delivery of intercultural values to ballet students by presenting them with alternative models of cultural expression and diversity in cultural representation and by illustrating possibilities for establishing links between creative work and current sociocultural occurrences. So far, the disciplinary connection between technology, intercultural learning and ballet has not received sufficient scholarly attention. This article fills this gap by bringing together previous research and theoretical perspectives from the critical and postcolonial literature to offer a set of principles aimed at helping ballet teachers plan student engagement in the intercultural learning.

Maria Tallchief, (Native) <em>America's Prima Ballerina</em>: Autobiographies of a Postindian Princess

Maria Tallchief, (Native) America's Prima BallerinaAutobiographies of a Postindian Princess Shannon Toll (bio) All the girls showed an aptitude for dancing, and all were charming and well behaved. I, however, seemed to develop a special rapport with Caroline [Kennedy]. She was only eight, but she was fascinated by my background. That I was part American Indian enthralled her. One afternoon, while we were changing into street clothing after class, she stood alongside me and said in a whisper that she had a question. Her eyes were bright and she seemed all excited. "I want to know what it's like being an Indian." "Well Caroline. It's no different from being anything else. It's my heritage and I'm proud of it. You're Irish and French and American. That's your heritage. You should be proud of that." She peered at me directly with her father's shining eyes. "I'd rather be an American Indian, Miss Tallchief." Maria Tallchief with Larry Kaplan, Maria Tallchief: America's Prima Ballerina ________ In this passage from her autobiography, Maria Tallchief: America's Prima Ballerina, Tallchief shares with her reader a moment between herself and little Caroline Kennedy, a beloved pupil of Tallchief' during the latter's time as a ballet teacher. While Tallchief had retired from her post as principal dancer on the world's most illustrious stages, this conversation between prima ballerina and American "princess" illustrates Tallchief's multifaceted allure as a celebrated dancer and a woman of Osage descent. While she expresses "pride" in her heritage in the passage, it was also a complicating factor in her relationship to her public, as audiences shared little Caroline Kennedy's almost possessive fascination with her [End Page 50] Native identity, a fascination that caused her performances to be filtered through a lens of colonial anxiety and subsequent exoticization. I have chosen this passages from her autobiography to illustrate how Tallchief encountered her publics as a writer, as America's first prima ballerina, and as an Osage woman. In her autobiography, Tallchief narrates her mastery of Western dance, her ascent to the status of prima ballerina, her pivotal role in establishing an American ballet tradition, and, throughout, her connection to her Osage heritage, and in doing so she establishes her identity as a "postindian princess." While the Indian Princess identity looms large in American consciousness, Tallchief both embodied and complicated this trope in her career, eluding colonial definitions of idealized Indigenous femininity. Beginning with the myth of Pocahontas as John Smith's adoring savior, the Indian Princess is the figurehead for the "legacy of painless 'history' in the early stages of European settlement in North America," constantly reenvisioned in various genres but always playing the same part: that of the conduit for "civilization" in the New World (Lyytinen 83). Moreover, casting Native American women as "princesses" also denies them meaningful agency within discourses of power, rendering them passive and submissive in the public consciousness. This article addresses this passivity ascribed to Indigenous women and describes how a woman such as Tallchief, who ostensibly embodied the Indian Princess prima ballerina—particularly through her tutelage and marriage to acclaimed choreographer George Balanchine—was able to exert agency in an unexpected place. Revealing the ways in which she was initially influenced by public perception of her as a Native American dancer and leading to her later identification with her Osage title, "Princess Two Standards," Tallchief's autobiography provides insight into the construction of her public persona as America's first prima ballerina and "postindian princess." The term "postindian princess" constitutes an intersection between two of Gerald Vizenor's foundational concepts: "manifest manners" and the "postindian." Vizenor writes that "manifest manners are the simulations of dominance; the notions and misnomers that are read as authentic and sustained as representations of Native American Indians." They are the "once bankable simulations of the savage as an impediment to developmental civilization, the simulations that audiences would consume in [End Page 51] Western literature and motion pictures, [which] protracted the extermination of tribal cultures" (Vizenor, Manifest Manners 5). This definition accounts for the "Indian Princess" aspect of Tallchief's representation, as her status as a Native woman...

Maestro: Enrico Cecchetti and Diaghilev's Ballets Russes

ABSTRACTWith a few notable exceptions, the literature in ballet history generally discusses Enrico Cecchetti solely as a ballet teacher, ignoring his contributions as a performer, and even as a ballet master, to ballet history. During his affiliation with Diaghilev's Ballets Russes from 1911 until 1928, Cecchetti played a significant role, as a performer and a teacher, in the development of Diaghilev's Ballets Russes along three trajectories: as a virtuosic dancer who raised the standard for male dancing, as an exceptional mime artist who inspired choreographers and dancers alike, and as a ballet master who created a solid corps de ballet from a group of dancers with diverse training and backgrounds.

The Cranky Ballerina by E. Gravel

Gravel, Elise. The Cranky Ballerina. Katherine Tegen Books-Harper Collins Publishers, 2016.Ada is a cranky ballerina – she doesn’t like ballet! This picture book is written to encourage children to use their abilities in activities they enjoy, even though they may feel upset about not being good at activities in which their parents have enrolled them. The illustrations are attractive with many bright colors and details included, such as funny items or posters. Although they are not related to the dialogue or plot, children will enjoy spotting these fun details. The words change in size, color, font, and shape. This adds interest and accentuates the characters’ emotions. Because children aged 4 to 8, the intended audience, may have been enrolled by their parents in extra-curricular activities that they did not enjoy, they may be able to relate to this story. Not only does this story encourage children to refocus their negative emotions into finding activities they enjoy, but it can also be encouraging for parents. It can help parents to identify activities that will use a child’s apparent weaknesses as strengths and, in turn, improve the child’s mood. Other adults, such as teachers and instructors, will be reminded that every child has different strengths and abilities and that problems that they observe may be arising due to incompatible environments and activities.The characters portrayed as the ballet teacher and karate teacher are examples of patient and encouraging adults. The ballet teacher repeatedly tries to help Ada learn ballet, and the karate teacher compliments Ada on her spins and kicks. The ballet terms used, such as “plié”, “jetés”, and “arabesques”, would likely only be understood by children who have had ballet classes. Simple vocabulary, such as “spins” or “jumps” could have been used to make it easier to understand for children without prior knowledge in ballet. Overall, though, this picture book can be a good resource for teachers or parents and would be an interesting and a fun read for children. It should be available in school and public libraries.Highly Recommended: 4 stars out of 4Reviewer: Stephanie GilStephanie Gil is a University of Alberta student of linguistics who enjoys working with children and new immigrants. She spent a year teaching English as a Second Language in Japan to kindergarten and junior high school students.

Dança e formação professores: A História Oral como potência formativa

In this article, we bring questions raised by a research about the path of the formation of a classical ballet teacher from Pelotas’s city, inspired by autobiographical studies and a qualitative approach. Worked with the faculty of docent's memory and eight testimonials. The main contribution was the methodology of Oral History, which proved to be a powerful source for the field of teacher’s training, promoting understanding of the knowledge and experiences of the most significant that formed the studied practical as the methodological perspectives resulting from this process.

The influences of an exemplary ballet teacher on students’ motivation: ‘The Finnish Way’

This ethnographic case story aims to illuminate the instructional practices and decisions of an exemplary ballet teacher, Minna Stenvall at the Finnish National Opera Ballet School. Minna is considered to be exemplary in her field because she received the Best Ballet Pedagogue Award in 2014. Spurred on by the literature on the significant role played by ballet teachers in the talent development of dance students and dancers, the main research question is ‘What does a successful teacher do to motivate gifted students to excel?’ The data – gathered via in-depth interviews with Minna, classroom observations and attendance at the school and company performances over a school semester – were intended to clarify our understanding of the complex but understudied practices and processes of teaching gifted children in ballet. For the research finding report, I used creative writing as a medium to narrow the spaces and attitudes between researcher vs. researched, description vs. interpretation and theory and fiction vs. nonfiction. The conceptual framework of social, pedagogical and cognitive dimensions of exemplary teaching frames the discussion. I conclude with a discussion of (a) the methodological approaches to address the contexts and transparency of research, and (b) the notion of putting the research into use.

Finding the Right Pointe Shoe: it all depends on the right pointe shoe fitter

Finding the Right Pointe Shoe It all depends on the right relationship—the one dancers should have with an experienced pointe shoe fitter! by Stacie Overmyer For a ballet student, the much-anticipated day of her first pointe shoe fitting is full of excitement and passionate hope for what her future as a ballerina may hold. On this day a dancer’s dedication has paid off, and she is now ready to graduate to the next level of dancing, en pointe. A dancer’s ballet teacher must first grant permission to begin this journey and may make recommendations regarding what brand and style of shoe would be best to try at a first fitting. As a skilled ballet dancer who has worked alongside two highly respected fitters in Southern California, I have learned that it is most critical that each student be fitted for her shoes by an experienced and knowledgeable professional. This is true not only for her first fitting, but for all of her consecutive fittings as well. Yes! It is that important! When fitted by a professional, both parents and dancers should walk out of the store confidently, knowing that you are leaving with shoes that are the best fit. Based on my dancing and pointe shoe fitting experience, I will provide some guidelines about how to find a highly skilled, “fairytale” fitter. This is someone who will help dancers find the perfect fit, or as many dancers call it, “the shoe.” Understanding the importance of finding the best pointe shoe fitter will benefit a dancer beginning with her very first pair of shoes and throughout her many years as a ballerina. Finding “Your” Fitter: What to Look For Researching some general information about pointe shoes should be on the top of your list before venturing out to purchase your first pair of shoes. Although there is much to learn about the construction and different brands, it’s advisable to learn just the basics and leave the specifics to the fitter. Educate yourself on the different brands of pointe shoes that are most common for students. Your research will undoubtedly reveal brands such as Bloch, Grishko, Russian Pointe, Suffolk, and Freed. Of course there are other brands, but these are a good start! Familiarizing yourself with these names will help you when exploring the different fitters in your area. It is important to choose a fitter that not only maintains an abundant inventory of pointe shoes, including sizes, brands, and models, but who is also well versed in fitting each style. (This is when your prior research will come in handy!) Choosing a retailer with a small inventory or only a few brands can be disadvantageous. Although the fitter may be skilled in fitting the brands they have, there is a risk of being sold what’s available in their inventory instead of what’s best for you. On the other hand, stores with vast inventories and more employees may have fitters that are only generally educated on how a pointe shoe should fit, but not all of them may be experienced professionals. Knowledgeable fitters look beyond the basic foot shape, length, and width. Their fittings involve a deeper understanding of the foot and should include discussing toe shape, width, and

How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

The idea that metrical accent might be related to an embodied sense of “up” and “down” is implied by the terms “upbeat” and “downbeat,” and is central to theories of meter as gravitational field, such as those evolved by Robert Hatten and Steve Larson. Yet as Hatten himself notes, upbeats and downbeats do not always map conveniently on to upward or downward movements in dance. Drawing on ethnographic research among trainee ballet teachers and recent theories of musical meter, this article discusses some practical and theoretical problems that arise when trying to teach about meter in the context of ballet training. It is suggested that empathic listening and perspective taking, rather than appeals to common embodied experiences of meter, may be key to developing better interdisciplinary understanding between musicians and dancers.