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First Month of Ballet Goals Planning!

Thursday, February 7, 2019

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We're one month into 2019 (this was the longest year month, wasn't it?!). I've been using my Ballet Goals Planner that Abby created to share with all of you and I wanted to share my thoughts on it this far in!

First of all, I love writing things on paper, so I sent my PDF off to Kinkos and had it printed and three ring hole punched and then put it in a pretty pink binder! :) I find I'm more motivated to keep up with things if it's aesthetically pleasing to look at!

When I started to fill out my goals for the year I realized how helpful this was going to be to prep me for a week-long adult workshop I'm signed up for in June! I'm concerned about having enough strength and stamina to last the entire week (and I want to be able to do pointe work!), so breaking down the process of building that up will help me focus on the short term goals instead of in May all of a sudden trying to fit in 5 classes a week and hoping for the best haha.

For the weekly notes I have found it extremely beneficial to have written down what classes I took and the corrections I got. Life is busy and my memory is shot these days, so I make a point to write this stuff down as soon as I get home from class or a workout. Also, I'm much more likely to remember something if I've taken the time to write it down, so writing down corrections has helped me remember to carry them over into my next class. Seriously, my brain has been so jumbled the past few years I just don't even think about working on previous corrections!! It's going to take me forever to improve if I don't start implementing those! :)

I love that Abby has included conditioning into the weekly report because I need to start doing more of that. Right now I'm lucky to fit in one day of conditioning, but this month I need to start consistently adding that in in order to get me where I want to be in June!

And finally, going back to the end of the year goals sheet at the front of the planner - I have yet to fill out goals past six months. I'm not sure what I want those to be yet and that's okay. I'm focused on my six months goals, which mostly consists of just trying not to get injured! I will re-evaluate in June after the workshop to see where I'm at then!

If you haven't started your goals planner yet, I would suggest starting now! You can download it here, and you can watch Abby talk about the whys and hows of the planner in this video!

Happy dancing, friends!!!
Jana


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Thoughts on YAGP and Competitions

Monday, January 21, 2019

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Good morning, dancers! It's that time of year again. YAGP! Competitions! Let me share a few thoughts on all of this. 


I am a big fan of participating in competitions for several reasons. 
First, the process of preparing one or more solos and being coached on them can help you move forward as a dancer. Fine tuning transitions, port de bras, épaulement, and other minutia in a variation will carry over into your class work. Classes give us combinations that we always have to pick up on the spot, but working on a variation allows you to focus on only a few steps, and to dig deep. We all have to find how to make our lines and our positions look the best on us and our bodies, so working one on one with a teacher or coach can help with this. 

Also, having a goal to work towards, knowing that on "x" day you are going to go out and perform for judges, can help increase the motivation to make every class count and for dancers to work their hardest leading up to it (hopefully creating good work habits that will carry beyond).
The scores and adjudicated comments will give you an idea of where to work from moving forward. Did the judges notice you need to work on arms, on turnout, or something else? Instead of taking these too personally, use them to grow! 
It's easy to let a score or comments get you down if it doesn't produce the outcome you had hoped for. However, keep in mind that the journey was always part of the outcome! View your growth as its own medal or plaque, and one that will serve you much better than something that sits on a shelf.
No single competition will define you as a dancer. You could win the top prize, and that will only be meaningful if it is backed up with a proper work ethic. Keep in mind what your goal is as a dancer - to go pro, to dance in college, to teach, to choreograph, or simply to become the best dancer you can be? Those are the real prizes in life, and competitions should only be a tool to move towards them. 
A "win" or a "loss" at a competition is short term. Progress in your dancing, learning, growing, and moving closer to your ultimate goal is forever. So go dance, have fun, make new friends, and take the competition and yourself only seriously enough to strive for the most benefit from the entire experience.

Abby
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Happy New Year and FREE GIFT!

Tuesday, January 1, 2019

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I recently uploaded a video about overcoming our fear to reach our goals, and it has gotten such a positive and overwhelming response. It inspired me to go even further to help everyone reach their goals in 2019!

My FREE GIFT to you for this year is this goals planner, which takes you through the entire year with a journal to help you set and achieve your goals!

Take the challenge to set aside any fears you may have that are keeping you from taking that next step! Although the planner is written specifically for ballet, my hope is that you will use it for ballet and beyond.

This planner is downloadable and printable, so that you can decide what you want to attain and work daily towards those goals.

Take those chances and let's help each other make this year amazing! Let's knock it out of the park!


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The Well Trained Dancer: Rond de Jambe

Monday, April 2, 2018

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Welcome! Today we are talking about rond de jambe, specifically rond de jambe à terre.

Rond de jambe means: "circle of the leg on the ground". (Rond de jambe can also be done en l'air, but we are not addressing that yet.)

3 POINTS OF ROND DE JAMBE:

1.) Rond de jambe can be performed en dehors and en dedans. En dehors takes the leg from the front to the back, and en dedans takes the leg from the back to the front.

2.) You want to think about where you have a tendu to the front, to the side, and to the back, and rond de jambe is connecting the dots. The leg has to pass consistently through the same places it did for tendu. The same goes for en dedans moving from the back, to the side, to the front.


3.) Closing to first has to maintain turnout. From the back, heel leads to close, and from the front, the toes lead into close.


3 COMMON CORRECTIONS:

1.) Maintain the disengagement of the leg from the hip, working rotation. The hip is a ball-and-socket joint formed between the hip bone and the femur. We want the femur to move independently within the hip bone, without taking the hip bone with the femur. Sometimes this is referred to as "hula hoop hips" because it looks like the hips are moving as they would if we were doing a hula hoop!


2.) The hip of the supporting side needs to stay very turned out and lifted. Allowing the supporting side to relax, either because we simply forget or because we feel like we can gain more rotation of the working leg, is incorrect. Turnout and rotation should always come from both hips!

3.) Be aware not to let the foot turn in as it passes through first. Maintain rotation throughout the entire exercise!


Please keep in mind these are the very basics for rond de jambe, and by no means a comprehensive guide to everything going on in this step. I hope these will be helpful for those of you beginning or returning to ballet, as well as a good reminder for more advanced dancers!

Check out the video version below for further help!

- Abby


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2018 Goals

Sunday, December 31, 2017

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Hi everyone! Abby here.

As we sit here, perched on the last edge of 2017 and about to blast into 2018, I wanted to share my goals for the new year. Sometimes I'm not about setting goals, because I don't like the feeling of pass/fail that accompanies that. Progress is progress, whether you reach a specific goal or not. However, this has been a year of giving myself a stern talking to, so I'm being a bit harder on myself.

I've shared with you several times about losing my Mom, my fellow dancer and friend, this year. This is really what whipped my butt into shape about my dancing. Mom went back to dancing in her very late 30's, after being off for almost 20 years, and danced through her 40's. At some point, I'm going to have to find the clip where she does hops en pointe for something like 16 counts - absolutely incredible. I honestly didn't realize just what a jewel she was until much later in life. I realized how wrong I was to hold myself back from going back into dancing, having made myself believe I was past it and needed to be nothing but a teacher.

My heart was broken early in the year when I demonstrated a jump in class, and quite the sad attempt it was, only to have one of my students say, "Miss Abby, I didn't know you could jump!" My students had no idea what kind of dancer I used to be, no fault of theirs. When I was 17, I competed in the one and only pageant I have ever been in, America's Junior Miss (now called Distinguished Young Women). During the section where I had to give a short speech, mine was about a quote my teacher said a lot, "'I can't' lives on 'I won't' street." Meaning, saying the words "I can't" begins with the mindset of "I won't". It wasn't that I couldn't, it's just that I was unwilling...afraid to fail. Dancing as a young person, you don't know how far you will go, but you don't set limits. You just plan on going as far as you are able. So, that's what I intend to do this year - take it as far as I can.

Here's my list, but no worries about "pass/fail". Whatever happens, happens. I will make progress regardless, but I'll also be elated if I end up being able to accomplish any of this!

1.) When I was dancing professionally, I was able to do 5-6 pirouettes en pointe. I had a consistent 4 on both sides. I want to try to get my turns en pointe back to this level.

2.) I want to get my split in my leaps back to a nice 180 degrees with two straight legs. Right now my back knee has a tendency to bend slightly, and my jump is not as powerful as I want it to be. I also want to soften the port de bras.

3.) 32 fouettes en pointe. I was able to do this two years ago, right before I stopped dancing, but it was so painful due to my hip, I would suffer for days after. Now that my hip is greatly improved, I'm hoping I can regain this skill.

4.) Overall improvement in port de bras. Although I love being a strong dancer, I always battled my arms. So, this year I really want to work on extending and softening through my arms on everything I do.

5.) Overall improvement in pointe work. I've been working to find shoes that work for me, and now have 3 types I am relatively happy with. So, I want to really work my pointe work and get this aspect of my dancing strong again.

6.) To dance the entire Sugar Plum pas, including solo and coda. To work up Lilac Fairy from Sleeping Beauty. I did this variation when I was 15 and it was an epic fail. I had regressed from the year before, partially as a result of trying to turn out and rotate beyond what I could from the hip, so I built up my glutes and was no longer aligned correctly. However, not knowing that at the time, I was just frustrated knowing that I was regressing but not knowing what to do to fix it. Doing this variation again will be some redemption, although I'm doing different choreography. To work up another variation I did as a teen - the jumping variation from Paquita. It was never a complete failure, but never a compete triumph either. More redemption needed on it.

These are lofty goals, but again, I will go as far as I can. My goals for the channel are this:

1.) To finish "The Well-Trained Dancer" series. I want to create a series that will take a new or returning dancer all the way through a basic class, with a basic set of steps. A kind of visual dictionary, but beyond that, so that they could also gain a somewhat deeper understanding of the steps.

2.) To bring more dance content to the channel overall. I want to bring a lot more tips and explanations of steps back into the rotation.

3.) To keep listening to YOU, and bring you want you want and need! So, please tell us!


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Ballet Book Guide

Wednesday, December 13, 2017

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Abby shares this brilliant guide to some of her favorite educational and fun ballet books! There's something in here for everyone, so here's a breakdown of her thoughts she shares in this video!

by Eliza Gaynor Minden

This book is like a crash course for ballet! Good for the adult ballet beginner, it's a great reference with visuals. It goes over the elements of barre and center work and as well as basic terminology, dealing with dance injuries, and the history of ballet.


by Agrippina Vaganova

Not the easiest reading, but very good information about the Vaganova technique.


by Vera S. Kostrovitskaya

This book is essentially the entire syllabus for Vaganova training. It's a very good resource for teaching Vaganova or gaining a better understand of the Vaganova background.


by Rory Foster

A book intended for pedagogy training at the collegiate level, this includes information about class structures, musicality, and other elements related to teaching. This is a good read for adult dancers, even if you aren't interested in teaching, because as adults we can take in more information cognitively, and understanding the "whys" behind teaching can help us during class.


by Gretchen Ward Warren

Your basic visual ballet dictionary with just about every ballet step you could imagine! Great reference with beautiful pictures.


by Gayle Kassing and Danielle M. Jay

This book may be good for the adult dancer who has been dancing awhile and wants to understand further the elements of class and technique. There is information on planning classes, which can be beneficial if you want to give yourself class. 


by Jordan Matter

A fun coffee table book full of photos of dancers doing pedestrian things or in pedestrian situations. This makes a great gift!


by Jacqui Greene Haas

If you're interested in what muscles you're working when doing certain movements or want to know how to cross train better for dancing, this book is a great guide with great illustrations and explanations!


by ABT Medical Advisory Board

This is the ABT guide you can purchase without taking the National Teaching Certification Curriculum courses. It goes over anatomy, kinesiology, dance related injuries, turnout, pointe work, development in health, etc. This is a very good book if you are a teacher or a parent of a dancer.


by Cyril W. Beaumont and Stanislas Idzikowski

This book covers the theory and technique of Ceccehetti by taking you through all the different elements of ballet class.

-------------------------

We hope there's something on this list that suits you (or might make a good gift for a dancer!). Let us know in the comments what your favorite ballet books are!


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New "Find a Studio" feature!

Sunday, August 7, 2016

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Inspired by Jana's Ballet Class When Traveling video, we've added a "Find a Studio" page here on our blog to help adults find good studios to take class! This could be helpful if you're traveling and want to keep up with class, or if you're looking for a long-term home studio. We are asking for your help though! If you have a recommendation for a studio with great adult ballet classes, leave a comment on the Find a Studio page with the name of the studio, its location and website, and we'll include it on the page for everyone to see!

We hope this will be a helpful resource for the community! Thank you all!


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Happy New Year!

Thursday, December 31, 2015

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We are one day away from starting 2016. Starting a new year is like pulling out a fresh, clean piece of paper, knowing we can create anything we want on it. Our lives as a whole should be like a painting we are creating, and it's important to step back from time to time to make sure we are happy with the picture being produced.

I have written before about keeping goals for ourselves, and I am big believer in them. I always say you should have 3 month, 6 month, 9 month, and 1 year goals. Write them down, keep them in a journal, and revisit them often. We should be constantly re-evaluating our progress.

This is not to say that if a certain goal doesn't happen that we should get down on ourselves. Some things are just harder than we anticipate. The important thing is, did you make progress, and did you actively work towards achieving that goal? So it's not that the end product that matters as much as the journey. You may end up achieving much different things than the goals you set, but what matters is how you focused and that you ultimately moved forward.

Take some time today to look back at the past year and think about things you can do now that you couldn't do one year ago. Take a moment to enjoy the thought of those things you have improved upon. It's so important with dancing to not get out of balance in terms of thinking about all we still have to achieve versus what we have achieved. Don't get stuck and depressed about what still needs to be done, revel in how far you have come - at least for today.

Here's a journal exercise I challenge you to complete in the next few days, as a reflection for the new year, and the bright shiny piece of paper in front of you. Of course, you can set more than three goals for each three month section, but try to decide on at least three.

Three things that improved over the past year:
1.
2.
3.

Three things that I didn't make as much progress on as I would like in the past year:
1.
2.
3.

Three things that improved more than I thought they would in the past year:
1.
2.
3.

My top three strengths and/or steps I enjoy the most:
1.
2.
3.

My top three weaknesses and/or steps I enjoy the least:
1.
2.
3.

Three ways I can work on my strengths:
1.
2.
3.

Three ways I can work on my weaknesses:
1.
2.
3.

3 month goals (by April 1, 2016)
1.
2.
3.

6 month goals (by July 1, 2016)
1.
2.
3.

9 month goals (by October 1, 2016)
1.
2.
3.

1 year goals (by January 1, 2017)
1.
2.
3.


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What to Expect at Your First Pointe Shoe Fitting

Wednesday, February 4, 2015

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Hi Friends!

It seems many of you are reaching your goals of going on pointe! So first off, Congratulations!! There is no more exciting a time for a ballet dancer than getting pointe shoes for the first time! :)

If you are completely new to pointe shoes as an adult, you may be wondering just what to expect when you go to the store to get fitted. There is so much build up to this moment, that it can be a bit nerve-wracking when it gets here. It's the first time you'll actually stand on pointe! But no need to panic. You will be great :)

Below I've compiled some tips & information to help you prepare!




Attire
If you plan to dance in your pointe shoes with pink tights over your feet, wear pink tights to your fitting. If you plan to dance in them barefoot, try them on without tights. Wear shorts, yoga pants, or loose pants that you can easily roll up so you can see what's going on with your feet and ankles. Full ballet class attire is not necessary.

What to Bring
If you are brand spankin' new to pointe, then you'll want to purchase some kind of toe pad either online beforehand or at your dance store. I really like the Ouch Pouch Jr. Large. Once you've been on pointe for awhile and have an idea of what kind of toe protection you like best, make sure you bring that to every fitting after. The general rule is that you don't want too much protection on your feet because you still want to be able to "feel the floor". I, personally, wear my Ouch Pouches with the Bunheads Big Tip on my second toes because they are crazy long and I lose my toenails without them! I'm currently not using toe tape since getting back on pointe in December, but when I do need it, this stuff is amazing. Don't buy the off brand version because it does not work as well!

What Will Happen
The person fitting you will first measure your feet for length & width. They will also take note of your toes shape & length, and your arch height. Based on this information they should have an idea of what shoes to start with. If you want more background information on that process, Abby and I go into more detail about the different parts of the pointe shoe and how they fit different feet types in our Intro to Pointe Shoes video.

From there, I would say the trying on process can be as quick as a 1/2 hour, to as long as 2 hours if you're a first timer. It can be tricky the first time around to understand what you should consider "comfortable" because honestly, you're standing on your toes, it's not like trying on jazz shoes or soft slippers! BUT, I do think you will notice the sweet spot of comfort after trying on many different types of shoes.

You should try on as many pairs as you need until you find a pair that:

  • Allows your toes to lay completely flat (no curling or scrunching) when standing.
  • Feels snug around your foot and toes, but doesn't pinch anywhere when standing, on pointe, or on demi-pointe.
  • The shank/sole stays even with your foot (no movement to the side when on pointe).
  • Allows you to get fully over the platform (flat portion at the end of the shoe) without buckling over.

There are many more factors than those three, but I think those are some big ones to be aware of when your fitter is asking you questions about how a shoe feels. The more you can communicate what's happening inside your shoe, the quicker the fitting process will go (not that you have to be quick. please take your time!). If you happen to get a really good fitter, they will know before you ever even go on pointe if a shoe is going to work or not! Which brings me to...

Final Tips
  • If possible, go to a well-recommended dance store that carries a variety of pointe shoe brands. Twice I have driven 3 hours to get a really good fitting at a superb dance store!
  • The person fitting you should bring out as many shoes as needed until you find a fit. If you don't find a fit, or they seem annoyed to bring out more than three pairs of shoes, I would take your business elsewhere.
  • Before you sew or do anything to your shoes, have your teacher look at you in them to double check they are a good fit!! Pointe shoes can not be returned if the satin is scuffed or the shoe has been altered in any way!

Let me know in the comments below if this was helpful to you! I'd love to hear about your first fitting experiences if you'd like to share! And if you fancy watching me talk about these tips, check out our corresponding video right here!




Also helpful: How to Sew Your Pointe Shoes Ribbons & Elastic :)

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Improving Low Arches

Tuesday, September 30, 2014

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 This week I am discussing a topic that has been very prominent in my ballet life: flat feet.

Feet are a very big deal when it comes to ballet. They complete the leg line and look so pretty in pointe shoes. That is, for people with naturally normal to high arches.

I have what are called Flexible Flat Feet. There is an arch in my foot when there is no weight on it, but when standing it is flat. I struggled with the appearance of my feet (standing and pointing) until about age 27 when Abby helped me concentrate on finding their full potential. Now I am okay with my feet and sometimes I even like them! ;)

In this video I share some tips that helped me improve the strength and flexibility in my feet. The best thing is, I hardly spent any time outside of ballet class working on my feet, so this video is really about being aware of the opportunities that are provided in class to concentrate on your feet.

If you are struggling with low arches I hope this video will give you something to look forward to working on in your next class!


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Yes, Imperfect Bodies Can Dance

Saturday, September 6, 2014

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I was teaching a group of 10 year olds yesterday, and was talking to them about turnout. I explained that I, personally, have very little rotation and circumduction in my hips, so I had to learn to work in a way that allowed me to use the correct muscles and as much turnout as possible in the correct way. As I looked around that room of absolutely beautiful children - some extremely talented, I told them that traditionally only the best bodies were chosen for ballet. Only the ones that already had the rotation and circumduction, along with a host of other things. Most of us in that room would not have made the cut (mainly me!).

A few days before I had been in one of my own classes, and was doing a stretch for my hips. While others had their knees falling to the floor, mine were no where near. My teacher that day commented that it is interesting about me that I have so little of that flexibility, yet it doesn't show in my a la seconde. And for that, I have to thank my training for teaching how to use what I have.

Sometimes I get a little too down on myself, saying that I had very little natural ability. I do have some natural ability for dance, and could never have achieved what I did without it. However, I have a lot of things I have to fight, and because I have attained a fairly high level, it's not always obvious what I have had to overcome. So when I get a correction about turnout, I have to be gentle with myself. When I am told I am rushing the music, I have to remember that once upon a time I could barely pick up combinations. Now, I tend to rush because I do remember the combination, but until I am really confident in it, I get driven to the next step, next step; instead of thinking about my musicality. Sometimes I tense up and get stiff, but that's ok because mentally I have to think about 50 things at once to keep up. It's not always that way, but sometimes it is. It's strange to think that there are people out there that don't have to think about all those things at once because it happens naturally for them. But, that's me. I'm imperfect. And guess what? I still get to dance!!!

There are ways to teach imperfect body types. Check out http://www.ballet4everybody.com/, which teaches teachers how to train dancers with different abilities. Without having learned from someone who had gone through this training, I would never have achieved what I have with dance. Most likely, I would have ended up injured, frustrated, and burned out. I probably would never have become interested in teaching because I couldn't figure things out for myself. Now that I am using these methods to teach, I feel like I have so much more of an understanding of what students are or are not doing to make movement happen.

Don't get me wrong, I love to watch an ideal body type perform ballet in an ideal way. But, I also love to see different body types, and how they use their differences. More than anything, I am grateful to live in a place, and a day and time, where I got the chance to dance despite my imperfections. And I think it is my imperfections that make me the teacher I am, because I did have to learn how to dance.
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Taking Corrections with Grace

Monday, February 17, 2014

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Sometimes it is easy to have a love/hate relationship with corrections. And, as an adult, it can be frustrating to be corrected about something that it might feel we have limited control over - i.e., turnout. Additionally, some teachers are naturally more crass than others.  While teenagers are sometimes more willing to 'take it', we adults have been out in the workforce or keeping children in line all day, and have much less patience if our class time feels antagonistic.

But let's remember the bottom line: corrections are our friend. Corrections are what keep us moving forward and getting better. And, even if a teacher says something in a way we don't care for sometimes, they are giving us attention through that correction, which means they see that we have potential. As a student, they always say the time to worry is when a teacher doesn't address you at all.

You should always feel comfortable enough with your teacher to address certain issues (privately, after class). If you really feel like you are being pushed in a way that isn't beneficial, talk to your teacher and let them know how you feel. If you would like MORE corrections and feel like you aren't getting enough, again let them know. Most of the time your teacher will be willing to work with you, or maybe they could give you more insight into a correction (it's not just the amount of turnout, but how you are turning out).

The thing teachers love to see are the people that take corrections and utilize them. If you do this to the best of your ability, it is likely the teacher will want to work with you more and more simply because it makes their work fun too!
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Finding my inner artist

Saturday, February 8, 2014

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It's always interesting to me how Jana and I tend to experience similar things at similar times with our dancing, even now being hundreds of miles away from each other. Reading her blog post about being shy sounded so much like what I have been feeling.

My relationship to the dance world has come in waves. I became a professional very young, then left, then went back, then had a baby, then went back...then decided I would never, ever leave the dance world again. A lot of amazing things have happened in my life that I would not trade AT ALL. But there are definitely big moments of regret about the dancing, if I could somehow remove the dancing part from the rest of my life (which of course, I can't).

What has been many, many years ago now, I danced among some really amazing people. People that have gone on to be principals and soloists in companies across the country, and who have received accolades they absolutely deserve. I'm sure our director keeps up with us all, but I have to wonder if he realizes the full extent of his success, not only as a ballet director, but as someone who trained us all in life. When I hear these people mentioned, there is talk about how they raise everyone up around them. I think our director knew how to look for that spark. The success they have seen is well deserved in every case, and the fact that I got to see them when they were young, and see how hard they worked, is still incredible to me.

Then there's me. In and out of the dance world. Dancing professionally at 17, only to leave it behind and never return to a full time professional company. Don't get me wrong - I love, love, love my life. But, it's hard to turn off the little switch that says, "That could have been you." That, no, I don't get to wake up everyday and go to a place where I watch amazing dancing all day. I didn't make the progress that those who continued professionally made. Sometimes, the fact that I even still try to call myself a dancer makes me feel like a fraud. A has been. A never was.

Now, I have this amazing second chance to still be dancing. Getting the opportunities I have now is unheard of. The problem is that I was never trained beyond the corps. I always wanted more (don't we all?), but I left the dance world the first time so young. Now I'm getting more, and I'm so happy, but there's this lingering doubt about whether I can do it or not. I used to be fearless - I would try anything, and go all out every time. Now I feel like I play it very safe. Granted, I think I need to in order to avoid injury, but I can feel I'm holding back. It's not just holding back physically, it's also the emotional. Of course, these two go hand in hand for dancers because it's the physical we use to demonstrate the emotional.

The question I am facing is how to become the artist. This is something every professional artist works through, but usually much younger than me. I'm facing this huge internal struggle of being so thankful I still have the opportunity to become what I know I can be, and being so frustrated that I allowed myself to put it off until now.

I know many adult dancers I talk to have similar frustrations: wishing they had started earlier, had done more, could do more, etc. While I am every bit the advocate that we can and should keep working, I also understand this struggle. Sometimes I feel like the artist that cannot stop painting the canvas and call a picture complete. Will I ever feel like I have done enough?

It's difficult to open up about this, but I also feel like it's an important dialogue. In many ways, I would rather not talk about it, and just try to seem like I have it all together. I have had many days when it seemed like it would just be easier to walk away from it all, and I did just that. Now I feel like I'm out of time - if I walk away again, I won't be able to go back. Physically it would be too difficult. But more than that, every time I have left my dancing, there has been an emptiness, and I don't want to be empty. Every heartache and frustration is worth it every time I step into first position.
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New Year's Dance Resolutions

Wednesday, January 1, 2014

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Happy New Year!

It's the time of year for resolutions. For me, personally, I have never really liked the New Year's resolutions. Sometimes it feels like they are almost set up to fail, and you hear stories about how the numbers skyrocket at the gyms in January, only to be dwindling by February.

That negativity aside, this is a great time to set positive, reasonable goals for ourselves. Maybe this year you want to move from one pirouette to two, add some beats to your jumps, conquer eight fouettes, or gain another inch of extension in your developpe.

Whatever it is, I recommend writing it down and setting a time when you would like to have that goal accomplished. Tell your teacher, or ask one of your peers to help you, both to keep it in sight and to give you tips and to push you. Imagine where you want to be in 3 months, 6 months, 9 months, and on this day next year. Is there a performance you want to be part of? Another level you would like to move up to? A part in a performance you want?

Be realistic, yes, but push forward as well. The reason we do this is to better ourselves, so there's no failure if something doesn't happen - as long as you worked for it and made improvement!

Comment below with your goals for the coming months and year!
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