Tag Archives: ballet academy

Cue Phrases

Cue Phrases for Teaching Ballet

Cue phrases can be both helpful and fun for teachers and students.  I remember one piece I choreographed on my advanced dancers. They were having difficulties with this circular formation and somehow I related it to a “pit of despair”.  I said “don’t fall in the pit of despair.” And eventually I was able to […]

Reverence—Just Do It

Ballet Reverence

Ever taught a class or in a studio where the students haven’t been exposed to reverence? When you attempt to do that portion of class they react in a most awkward way. When they realize you expect them to applaud—oh my, the awkward level shoots through the roof. What is that about? I honestly have […]

Teach Young Students to Count Music

Counting Music

I am an advocate of instilling musicality in students, no matter the age or skill level. It is an integral part of ballet, therefore it deserves a place in training from the very start. But I don’t deny teaching young students to count music is a challenge. So challenging that I understand the choice not […]

Emotional Needs Within The Ballet Classroom

Emotional Needs of Dancers

Ballet dancers are artists and art reflects humanity. Therefore, ballet dancers must be highly in tune with their own humanity in order for their art to resonate. Most people drawn to pursuing the arts experience feelings in a profoundly deep way. The world around them seeps in and causes emotions to kind of firework about […]

How I Mix Up Port de Bras for My Students

How I Mix Up Port de Bras

Balancé Temps de Fleche Saut de Chat Chassé Entournant Tombé Pas de Bourrée Just a few steps for which many dancers have a default port de bras. There are many steps that would make it on this list. Maybe at one school all the dancers extend the arms to the First Arabesque line for a […]

Hands and Fingers Make All the Difference

Hands and Fingers Make the Difference

The advanced dancer looks for ways to set themselves apart from the rest. How can they make their pirouette look different from the dancer standing next to them? What quality can they inject into their petit allegro that will glue all eyes on them? What dynamic do they wish to incorporate into their port de […]