Ballet Hip Alignment Belt? The 154 Detailed Answer

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DRESS CODE for men and boys: black tights, white t-shirt, white socks, white ballet shoes, dance belt.

Most ballet schools’ New Student Guide reads something like this and introduces new male dancers to the great adventure. By the time a guy decides to actually start ballet classes, he’s probably already reconciled to wearing tights. Socks, shoes, t-shirts – no problem.

But…

What is a dance belt?

Dance belts are specialized athletic harnesses designed specifically for dance. Tights create the dilemma. The gods of ballet have decreed that male dancers wear them in class and in performances, but somehow without the little Johnny’s “Johnny” providing a vivid male anatomy lesson to the other students or the audience. Even in ballet, medium-sized “readjustments” are considered bad style. Solid genital protection and support is required. However, since pantyhose are skin tight and form-fitting, any conventional underwear, compression shorts or jockstrap will show through them. Dance girdles avoid these lines by eliminating the back straps of the jockstrap and replacing them with a single strap that runs between the buttocks.

Dance girdles create a smooth, idealized male bump under tights with no visible lines, while keeping your testicles safe and secure and protected from the risk of bouncing or being crushed between your legs. Another benefit is a dance belt’s ability to hide any visible signs of a spontaneous erection, which can be quite embarrassing in class and even worse on stage. Although you’ve probably never worn anything even half as tight as a dance belt, a well-fitting belt can actually be very comfortable once you get used to the unusual feel. Dancers like the reassurance that their genitals are safely protected and out of harm’s way, no matter how radical their moves. The secret is finding the right dance belt.

It was only in recent years that manufacturers realized that prepubescent ballet boys also need dance belt protection and introduced youth models. Still, dance belts for little boys can be hard to find (this site can help).

male physiology

The male genitals are the only major organ in the human body that is outside the protection of the skeletal structure. This evolutionary quirk must work, otherwise the species would have been a victim of evolutionary extinction eons ago. But the activities of modern life can put strain on the genitals, which can be extremely painful or even threatening to your reproductive health. In other words, your body really isn’t designed for a marathon, a hit with a lacrosse stick, or 5th position in ballet. Urologists believe that many male fertility problems stem from long-forgotten minor incidents in adolescence and teenage years. Ringing, banging and strains can be minimized by wearing the right supportive clothing during strenuous activities like sports and dancing.

Dance belt design

Imagine the challenge that dance belt designers face in developing something that addresses these design parameters:

– Physiology – The male genitals need to be moved out of the way. A simple 5th position or shearing battery moves like entrechats can crush a misguided testicle dangling below the crotch line. The testicles must be firmly supported to avoid bouncing and rattling during jumps. The penis must be held. Tight fabric must not restrict or inhibit movement of active muscles in the trunk and legs such as the glutes, hamstrings, abductors, etc.

– Comfort – Nothing as controlling and tight as a dance belt will ever be mistaken for a pair of silk boxer shorts, but it must be comfortable enough to wear for long hours of classes, rehearsals and performances.

– Appearance – A dance belt should be as invisible as possible under tights. The male bulge – although inevitable – should be smoothed, compacted and centered. And once it’s put on and adjusted, nothing should move in the dance belt, regardless of the stretches, jumps, and contortions the dancer engages in.

Why a thong?

The type of dance belt you choose is initially up to you, but I’m not a fan of full bottom or “comfort” compromise models. The traditional thong style was invented and is the most popular for several reasons:

-They are almost invisible under pantyhose, show no underwear lines and best pack the male package.

-You have the most solid genital support.

– They do not cover your buttocks, so the glutes and hamstring muscles are not restricted or prevented from working to their full length.

-It always stays in place with a constant tension, no matter how radically you move. You won’t find yourself in the corner making mid-range “readjustments” or trying to pull down a so-called full-coverage seat that’s wandered halfway up your butt.

The thought of wearing a thong is scarier than reality, although they do take some getting used to.

sizing

Dance belts are measured by waist size. Although most local dance shops don’t carry a large selection of men’s dancewear, they usually have a small selection of men’s tights and dance belts stashed away somewhere. You’ll probably have to ask the clerk where they hide the men’s gear. You can also shop online if you live in a town too small to have a dance store, but be prepared for sizing issues until you figure out exactly what each manufacturer means when they say “medium”*.

*Many dancewear manufacturers have standardized their entire line and use women’s sizes, which are generally one size smaller than men’s sizes. Although dance belts are strictly for male dancers, they are sized that way.

Go one size larger than your normal underwear size. If you usually wear M, buy L.

colour

The best color dance belt you can buy is flesh colored. The same dance belt can then be worn under black practice tights and white performance tights. A flesh-colored dance belt is more invisible under white tights than a white one, likewise a white t-shirt under a white shirt creates a “super white” look that is lighter than a single layer of white. Recently, some dance belt manufacturers have added darker colors for non-Caucasian male dancers.

Comfort – how to wear a dance belt

When putting on a dance belt it’s important to take the time to place all of your man parts where you want them to be as comfortable as possible because once it’s on nothing should move until you put it on lose weight. Sometimes there is a slight amount of internal slippage in a dance belt when worn, but too much displacement indicates a poor fit. You may have to try different brands and sizes to find the one that works best for you.

To get dressed, pull your dance belt up over your hipbones, up to where you normally wear your pants. Don’t try to cheat by wearing it low, hoping to avoid the tension of the thong. Your penis should end up pointing up toward your belly button, so you can start this process by letting the dance belt catch you as you put it on.

Next comes the fun part, sometimes known as “dive and scoop”:

Reach into the dance belt and pull your scrotum up into the pouch. Your testicles need to be up and forward, above the crotch line and well away from their usual hanging position. Adjust your penis so that it is pointing straight up (“North”). Then make sure the pouch isn’t sitting too far forward by pulling the bottom of the pouch back down and back. The bottom of the pouch should meet the thong at the perineum (very bottom of your crotch, aka the “spot” because it “doesn’t touch your balls and doesn’t touch your ass”). Spread your buttocks to ensure the thong is secure, then pull any looseness towards the back waistband. Again, don’t try to cheat by letting the thong float loosely. It’ll end up as high up in your crack as possible halfway through the lesson, so place it where you want it rather than leave its comfort to chance.

Highly recommend wearing your new dance belt around the house to get used to it rather than trying it for the first time in a dance class which will limit your customization options. Be aware that sitting will stretch the thong and make it tighter, so avoid sitting at the computer while you break in your new dance girdle.

Initially, you can expect some discomfort when wearing a dance belt. A properly matched one won’t bother you soon, however, and you’ll appreciate your ability to let go, bounce and bounce around with wild abandon, knowing you won’t feel a painful impact upon landing.

Doing laundry – care of your dancewear

Wear your dance belt only once before washing!

After that, they’re gross and should probably be handled with pliers and rubber gloves.

Most dance belts, tights, and leotards are high in spandex. Spandex loses its stretch and is destroyed by hot water. It can also be damaged by sweat and skin oils, so don’t let dirty, damp dancewear fester in your dance bag for days.

Spandex is sometimes known by other names:

-Lycra if it comes from Dupont

-Milliskin if it is an MStevens garment

– Spandex in the UK

Cold water is key to keeping your dancewear happy in the wash.

It’s okay to use the washing machine on the gentle cycle if it’s set to cold.

Hang everything up to dry.

Never put dancewear in the dryer.

If you live in a humid climate and it seems like your dancewear is taking forever to dry, pat freshly laundered clothes in a towel to remove excess water before hanging.

A final comment

Most vintage (pre-1980s) dance belts were extremely uncomfortable and intended as a sort of penance for the few men brave enough to wear tights in those enlightened days. Although new designs have made huge strides in the comfort of dance belts, it’s still a tradition for male dancers to complain about it. But they wear them willingly because they know that dance girdles are the best thing to keep their man parts safe and secure and their line smooth. In the words of one adult student, “The only thing worse than wearing a dance belt is not wearing one. I can’t imagine dancing without him.”

ABT dancer Sascha Rudetsky (quoted in Dance Magazine) said, “Some men rely on a lucky dance belt to lull them into security and enhance their performance.”

Many students who attend performing arts high schools, college dance schools, and professional dancers wear a dance belt all day, every day.

Don’t whine too much about having to wear one for a single class.

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When properly positioned within the garment, the genitals are held snugly and firmly against the lower body in an elevated orientation (in other words, pointing toward 12 o’clock). This is in contrast to most athletes, who normally hang their genitals down so that a jump occurs when they jump.

If something feels uncomfortable, adjust it now. That’s not possible later, especially if you’re wearing an elaborate costume that covers your lower body.

At first you can expect to feel an unfamiliar pressure in your lower region, but once the device is properly fitted you will quickly not notice that you are wearing it after you get used to using it after a few hours. You will eventually appreciate the ability to leap, leap, and move without pain or discomfort. [9]

Your penis should end up pointing up, toward your abdomen. And you can quickly accomplish this by reaching your slightly curved palm down into the dance belt to lift your scrotum up in the support pocket and guiding any hanging parts so they point towards 12 o’clock while you hold your hand pull back The panel of fabric hugs and encloses and supports everything securely yet gently in place. Both of your testicles will be in the front and not dangling between your legs as they would be unsupported once your body temperature rises due to the physical exertion of dancing and the body’s normal need to keep testicle temperature from overheating. If the thong part feels too tight you can adjust it by pulling it a little lower, but there needs to be some tension to support the male anatomy.

Being a ballerina is considered to be one of the most challenging careers in the world. Performing ballet professionally can be very demanding as it requires discipline, strength and perfection. People who are interested in this dance career or hobby often have many questions such as: B. “Do ballerinas wear bras?”

Bras can be worn or not worn depending on the ballerina. If a ballerina prefers to wear a bra for convenience, she definitely can. There are no hard and fast rules for wearing ballet flat bras.

However, ballerinas are often confused when it comes to whether or not they should wear bras while dancing. In this article, we will guide you accordingly.

What do professional ballerinas wear?

To form ballet professionally, the ballerinas must look decent and wear something comfortable but elegant. To this end, professional ballerinas wear a leotard at every ballet performance. A leotard is a very tight-fitting garment that covers the ballerina’s body from the shoulders to the crotch. Leotards are unisex. Therefore, they can also be worn by male ballet dancers. This one-piece garment is made from a stretchy material that is very lightweight and breathable.

The leotards come in a variety of styles, some can be sleeveless or full sleeves, and some have a deeper U-shaped back than others, and more. There are many ballet dancer leotards to choose from and everyone can easily find one to suit their taste and preference.

In addition to the leotard, professional ballerinas wear tights to cover their legs, and these tights go over their feet as well. However, there are footless tights for those who want to wear socks. These tights are often made of mesh and are very breathable, making them very comfortable for the ballerinas when they are performing ballet.

Do ballet dancers wear cups?

Mugs are a unique garment often worn by male ballet dancers. These cups are commonly known as “dance belts”. They are worn above the waist and provide support for ballet dancers’ genitals. These cups are also used to make ballet dancers’ costumes look seamless and avoid contouring of the genitals when wearing the skin-tight leotard.

Ballet dancers, often male, wear these cups to create a seamless look when wearing leotards as these cups allow the leotard to sit more smoothly on their bodies. These cups support their genitals and assist ballet dancers in their movements, allowing them to perform ballet without much effort. The band of these dance belts or cups is quite wide to ensure that the ballet dancer’s waist is not pinched when wearing the cup.

What is a ballet bra?

A ballet bra is a style of bra where the straps of the bra are at the very back of the garment. However, one strap curves down towards the band and meets the other band in a smooth line that meets at the back of the bra. Because of this, the shape of the bra looks from the back to form a deep U-shape and offers a better fit. Ballet bras can offer more support and also keep the bra tighter to the body.

These ballet bras are called “ballet back bras” because of their shape, which resembles the back of a leotard. A leotard also has the same U-shape on the back. These bras also have wider straps to allow for better support and make them more comfortable. These bras often come with adjustable straps, meaning the straps can be easily adjusted to achieve the fit you want.

How do you wear a bra with a ballet leotard?

Many ballerinas prefer to wear bras under their leotards. This is because some ballerinas feel that the thin material of the leotard is not enough to give them the support they need, so they often wear bras to feel more confident in ballet.

When wearing a bra with a ballet leotard, the color of the bra is very important. Ballet teachers often use ballet teachers to wear a black, tan, or white bra underneath the leotard. However, most ballerinas match the color of their bras to the leotards they are performing in to ensure that even if the bra shows through the edges of the leotard, it doesn’t look too different from the garment itself.

Padding is another option for ballet flats that want more support under their leotards, especially leotards that already contain some form of padding. This padding is usually sewn into the leotard and provides enough support to keep the ballet flats comfortable when worn. Some ballerinas also use bra pads and wear them under regular leotards, and because the leotards are so tight, the bra pads don’t fall out during their performances or during ballet practice.

Do you wear anything under a leotard?

Because leotards are extremely skin-tight and fitted, it can be difficult to wear too much clothing underneath. Some ballet dancers like to wear underwear under their leotards. However, because the seam lines of the underwear can easily show through the dancer’s leotard and tights, it’s often not the most popular choice. Although ballet dancers prefer underwear underneath their leotards, they usually wear underwear made of very thin material and often invisible seams.

Many leotards come with a built-in liner specifically designed for the genitals, and this liner can be quickly removed from the jersey and washed. After washing and drying, they are put back into the leotard and worn again. Many ballerinas often use the tights they wear as underwear and forego additional clothing items.

Ballerinas often wear bras under their leotards to support their breasts while performing. There are many different styles of bras specifically designed to be worn under leotards by ballet dancers.

Which bra is best for ballet dancers?

If you plan to wear a bra during your ballet performances, you may be confused about what kind of bra to invest your money in. There is a wide range of bras on the market and many of them are specially made to be worn by ballet dancers.

If you want to wear a bra to ballet to give your breasts some support and not feel uncomfortable braless, make sure you choose a bra with minimal padding. Heavy padding in the bra you wear in ballet can be a hindrance in ballet, so it’s best to wear a bra with light padding.

It’s important to ensure that the bra you wear to ballet is made of a light and soft material. You want to wear a bra that feels comfortable against your skin under the tight leotard, and the material should be soft enough to ensure you don’t get a rash from it.

The material of the bra should also be odor absorbing because while you’re performing or practicing for hours in a skintight leotard you can sweat and you want to make sure your bra doesn’t start smelling a few minutes after your performance.

Therefore, by keeping these points in mind, you can choose the perfect bra for yourself to wear under your leotard in ballet.

Conclusion

Performing ballet can be a unique and beautiful experience, but there is a lot to know before becoming a ballerina. The decision to wear a bra to ballet or not is entirely up to you. And there are many ballerinas out there who prefer to go braless for their exercises and performances. However, some may feel uncomfortable with the idea of ​​just wearing a leotard and therefore a bra is the perfect piece of clothing for them. As long as you’re comfortable in what you’re wearing and able to perform all of the intricate movements of ballet with ease, it doesn’t matter what preference you have for wearing a bra.

Raisin Bena

In professional ballet, the dancer often appears light and airy, seemingly floating effortlessly in the air when performing en pointe (on tiptoe). In contrast, the male dancer appears to be quite powerful, performing larger dynamic athletic movements that require grounded, earthy strength to push himself into the air, and rarely (if ever) performing en pointe. So why train men en pointe?

Imagine the kind of strength it takes to continuously make fast leaps in the air for an hour or two. This is what it’s like to conduct a pointe training course. Pointe training builds aerobic endurance and strengthens the legs, feet and upper body because although pointe shoes allow dancers to stand directly on their toes, moving from a normal standing position to a full pointe position requires their own strength and technique. Once in a full pointe position, they must continuously contract the muscles of their feet, ankles, legs, and upper body to pull themselves up and out of the shoe. The body weight is not shifted to the toes but to the hips. This skill is complicated and requires serious, dedicated training to gain the strength and technique needed for proper peak execution. Dancers must train in soft ballet shoes at least three days a week for several years before attempting to wear pointe shoes.

Despite the fact that women’s feet and legs are often more flexible than men’s, according to experts in the field of dance medicine and science, there is no physical or medical reason why men should not perform en pointe. It’s a purely aesthetic choice.

Sierra Nevada Ballet’s new Marketing and Development Director, Nicholas-Martin Kearney, performed for several years with Les Ballet Trockadero De Monte Carlo (a professional male ballet company specializing in bringing a playful, entertaining take on classical ballet in parody form to present, en pointe on.) “Men who dance en pointe take extreme sports to a whole other level,” said Kearney. “It’s the perfect mix of physical strength and pride.”

Proper training en pointe builds core strength, body alignment, balance, proper muscle memory, a strong work ethic, and emotional stability and maturity. Pointe is hard work and starting pointe classes is demanding on the body and can be quite painful at times, especially in the legs and feet. In addition, pointe shoes are complicated and require a certain level of responsibility for care. Sur les Pointes training is a serious sporting endeavor.

Many ballet teachers only require dancers to train en pointe and for this reason pointe shoes are made of pink satin to blend in with the pink ballet tights worn by dancers.

Having taught ballet for over 40 years, I find that training all ballet athletes sur les pointes produces the best results and therefore I educate each student en pointe on an individual basis – regardless of gender. Since the men rarely perform en pointe (except in an occasional comic role) and most of my male students dislike pink satin, I allow the male dancers to paint the pink pointe shoes different colors to suit their individual taste. Her artistic expression in this area is often interesting in its own right: some boys paint their shoes plain black, others opt for bold colors and patterns.

I’ve found that en pointe training makes men much better, stronger all-around athletes and also helps them become better partners with en pointe dancers. For the same reason, I find that large dynamic jumps like double tour en l’air (usually performed only by male dancers) help female dancers build their strength in other ways.

In short, a good athlete should have a well-rounded training routine, regardless of gender, and there is nothing in ballet that strengthens both body and mind more than training sur les pointes.

Rosine Bena is the Artistic Director of the Sierra Nevada Ballet.

Tights (in one form or another) are worn in a range of dance styles, from jazz to contemporary to classical ballet. But in our warm Australian climate, especially during our hot and often muggy summer months, the question arises – are tights really necessary and what practical purpose do they serve?

The wearing of tights in classical ballet dates back to the 18th century. The invention of the pantyhose is widely credited to a costume designer named Maillot, who worked for the Paris Opera Ballet. His invention, although scandalous at the time, freed the dancers’ bodies from their traditional heavy and cumbersome costuming. The resulting freedom of movement helped pave the way for the development and advancement of dance technique, with a growing focus on the intricacies of foot movement and battery and the increasing athleticism of the dancers.

In 1826, tights were hailed as a practical and necessary improvement in men’s dancewear by August Bournonville, the great Danish choreographer, noting that the long, baggy trousers previously worn concealed too many technical flaws and anatomical flaws.

It is believed that Marie-Anne de Cupis de Carmargo was the first woman to wear tights in the mid-17th century. Scandalously, Carmargo was the first woman to remove the heels from her dancing shoes and raise her skirts from ankle to calf length. She wore tights to keep her modesty.

Another factor in the emergence of tights is that ballet originated in Europe, where winters are cold and warm clothing was necessary. Which leads to our question: is wearing tights practical in Australia, or just a holdover from a distant history of cold climates?

In fact, there are many practical and sensible reasons in Australia to wear tights in summer too.

In classical ballet, it is the norm in classical ballet for women to wear pale pink tights and men to wear light or dark colored tights. There are aesthetic reasons for this. For performances, the corps de ballet must appear consistent and the dancer’s form and musculature must be observed by the audience. Lightweight tights also help the dancer’s form show through against colored backdrops and the stage floor itself, which is usually black. Under stage lights, bright tights also help define dancers’ legs and add to the aesthetic appeal of the movement.

So if they are necessary for the stage, why are they necessary for the lesson? There are a number of reasons:

Tights provide slight compression of the muscles in the leg and foot, which improves circulation and helps dancers “feel” their legs and activate the right muscles

They offer unrestricted freedom of movement while providing good coverage for reasons of discretion and modesty.

Modern tights not only keep the leg muscles warm, but also help to absorb sweat from the legs and feet with moisture-wicking technology – an important aspect in our climate, especially for pas de deux and partnering classes.

They help to ensure a neat and professional appearance – even in class! Dress standards are an important part of the physical and mental preparation for ballet class – they help put you in the right frame of mind.

Although tights come in a number of different finishes and styles, they generally have a silky smooth finish that allows the legs to slide past each other smoothly, reducing friction and rubbing.

This is an excerpt from an article by Michelle Dursun in the April/May issue of Dance Australia. NOW OUTSIDE!

Review dance-related terms to improve your communication skills.

Grade levels: K-12

Resource Types: Glossary Terms, Word Wall Printouts (3)

An accent: a movement or form performed in a way that emphasizes it. Actions: what the body does; includes locomotor and non-locomotor movements. Aesthetics: Measures by which the artistic merit of a work of art can be assessed. Alignment: body placement or posture; the relationship of the skeleton to the center of gravity line and to the base of support. The right alignment protects muscles and joints and promotes dancing skills. analyze: examine the unique characteristics of a work of art in relation to the elements of the art form and the principles of design, composition, performance and/or production; identify individual parts and examine how they function independently and together in artworks. Asymmetry: uneven, irregular design. ↑ Above

B-Body Bases: Body parts that support the rest of the body. For example, when you are standing, your feet are the base of your body; When kneeling, the knees are the base of the body. body parts: the body parts or appendages, such as arms, legs, head, torso, etc. binary form: two-part structure; AWAY. ↑ Above

C Call and Response: A structure often associated with African music and dance forms, although used elsewhere including in classical, folk, traditional and other archetypes. One soloist/group performs while the second soloist responds or types in an “answer”. Canon: Choreographic form reflecting the musical form of the same name, in which individuals and groups perform the same movement/phrase at different times. Choreographic Structure: the specific compositional forms in which movement is structured to create a dance. Classical Dance: Dance that has evolved over time into highly stylized structures and forms within a culture. Classical forms are generally developed within a society’s court or circle of power. Forms of composition: structures of dance composition. Examples include AB – a form composed of two contrasting sections, each of which may or may not be repeated.

– a form composed of two contrasting sections, each of which may or may not be repeated. ABA – a three-part compositional form in which the second section contrasts with the first section. The third section is a repeat of the first section and may be in condensed, abridged, or expanded form.

– a three-part compositional form in which the second section contrasts with the first section. The third section is a repeat of the first section and may be in condensed, abridged, or expanded form. Narrative – choreographic structure that follows a specific plot to convey specific information through the story. ↑ Above

D Dance criticism: process and result of critical thinking about dance. It usually involves the description, analysis, and interpretation of the dance, as well as some form of judgement. Describe: Part of the initial process of responding to artworks. Refers to identifying and communicating, verbally or in writing, the elements of the specific art form present in a work; also refers to when, where and by whom the work was carried out. Directions: forward, backward, sideways, up and down. Dynamic: the dance element that relates to how a movement is performed; movement quality. ↑ Above

E Elevation: the propulsion of the body in the air away from the ground, such as B. a jump, hop or jump. Ethnic Dance: Dances typically created and performed by specific ethnic groups within societies or cultures. Expression: a process of conveying ideas, feelings and meanings through the targeted use of the communicative possibilities of dance. ↑ Above

F-Focus: a central point or focus of attention in the movement space; the concentration, attention, or specific energy devoted to movement in space. Folk Dances: Dances typically created and performed by specific groups within cultures. Generally, these dances originated outside of the court or circle of power within a society. Power (Energy): Level of muscle tension and energy use during movement, such as B. heavy/light, sharp/smooth, tension/relaxation, bound/flowing. Tension/Relaxation: Tension feels hard and tense; Relaxation feels soft and loose. Flow: continuity of movement. When energy is released unimpeded, we call the movement free-flowing. Energy can also be released in a controlled and restrained manner. ↑ Above

I Improvisation: spontaneously emerging movement, from free form to highly structured, but always with coincidence. Improvisation offers the dancer an opportunity to bring elements together quickly and requires focus and concentration. It is an instant and simultaneous choreography and performance. Initiation: the point at which movement is said to originate. It specifically refers to specific parts of the body and is commonly referred to as either distal (from the limbs or head) or central (from the trunk). interpret: This process of responding to artworks identifies the ideas, feelings, moods, and overall meaning conveyed by the artwork. It also calls for the study of the influence of time and place on the artist who created the work. ↑ Above

K kinesphere: see outer space. Kinesthetic: refers to the ability of the body’s sensory organs in the muscles, tendons, and joints to respond to stimuli in dancing or dancing. ↑ Above

L Landing: The manner in which the body returns to earth after an elevation action such as a leap, hop, or leap. Levels: the vertical distance from the ground. Movements take place on three levels: high, medium and low or deep level. Locomotor Movements: Movements that travel from one place to another. Examples include walking: stepping from one foot to the other, shifting weight from heel to toe.

: Steps from one foot to the other, shifting weight from heel to toe. Running: Stepping from one foot to the other at a relatively fast pace.

: Steps from one foot to the other that are performed at a relatively fast pace. Hopping: a movement in which the body is propelled through space by jumping off one foot and landing on the same foot.

: a movement in which the body is propelled through space by jumping off one foot and landing on the same foot. Leap: a movement in which the body is propelled through space by jumping off two feet and landing on two feet.

: a movement in which the body is propelled through space by jumping off two feet and landing on two feet. Leap: a movement in which the body is propelled through space by jumping off one foot and landing on the other foot.

: a movement in which the body is propelled through space by jumping off one foot and landing on the other foot. Gallop: a gliding step in which the body is propelled through space at an uneven rhythm, so that the same foot always leads the way.

: a gliding step in which the body is propelled through space in an uneven rhythm, so that the same foot always leads. skip: a step and a hop, alternating feet. ↑ Above

M metric rhythm: the grouping of beats in a repeating pattern. Movement Quality: the identifying attributes created by the gathering, releasing, cycling and terminating of energy in the body that are key to making movement expressive and therefore dance-like. Typical terms denoting movement quality include, but are not limited to, smooth, sustained, swinging, percussive, and vibrating, as well as effort combinations such as float, dab, punch, and glide. See also dynamics. Movement theme: a complete movement idea that is manipulated and developed within a dance. Musicality: the attention and sensitivity to the musical elements of dance while creating or performing. ↑ Above

N non-locomotor movements: movements performed around the body axis and not intended to travel from place to place, such as also called axial movements. ↑ Above

P-paths: Patterns we create when moving through the air or on the ground (i.e., straight, vertical, horizontal, zigzag). Can be performed with locomotor or non-locomotor movements, separately or in combination. Pattern: a repetition of lines, shapes and/or movement resulting in a design in space or movement. Phrase: a short sequence of related movements that has a sense of rhythmic accomplishment. Purpose: the intended function of a dance in its cultural and/or aesthetic context. ↑ Above

R-rondo form: a dance structure with three or more themes, in which one theme is repeated; ABACAD … ↑ Top

S-shape: The shape created by the position of the body in space. Shape aspects are open/closed, symmetrical/asymmetrical, angular/curved. Space: includes directions, size, paths, planes, and shapes. Common space – the dance area.

– the dance area. Personal space (also called kinesphere) – the area of ​​space occupied by the dancer’s body.

(also called ) – the area of ​​space occupied by the dancer’s body. Size – the size of a body shape or movement, from small to large. Style: a particular way of moving or dancing; the characteristic way in which a dance is done, created, or performed that identifies the dance of a particular performer, choreographer, culture, or era. Symmetry: a balanced, even design of shapes and/or movements in space. ↑ Above

T Tension/Relaxation: tense movements feel hard and tense; relaxed movements feel soft, loose and flowing. Tertiary form: three-part structure; ABA. time: includes duration, tempo and beat. Duration – the duration of a move.

– the duration of a movement. Tempo – the speed at which a movement is performed.

– the speed at which a movement is performed. Beat – the underlying rhythmic pulse. time signature: a written symbol in music denoting a metrical rhythm; for example 3/4, 4/4. ↑ Above

The use of imagery to control posture and alignment in dance

The use of imagery to control posture and alignment in dance

By Tania Huddart

Proper body alignment and posture are essential for dancers as it makes them appear more elegant and confident. It also improves overall balance and body control.

Dancing with correct alignment makes dancing more comfortable. Good posture can be described as the most mechanically efficient positioning for the body and reduces the risk of strain or overuse problems such as back and muscle pain.

There are many benefits of working towards good posture. One of the most compelling reasons is that it keeps bones and joints in the right alignment so muscles work properly. It also helps reduce normal wear and tear on joint surfaces and reduces stress on the ligaments that hold the joints of the spine together. This prevents the spine from being fixed in abnormal positions and reduces fatigue as muscles are used more efficiently, which allows the body to use less energy.

Due to the very complex nature of dance technique, every dancer is likely to have muscular imbalances that interfere with good alignment. These imbalances are most often addressed through proper stretching and strengthening of the body, but it is also useful to explore the use of mental imagery to aid in this process.

Images are one of the best tools to aid in postural alignment research. For example, a common problem is when the body weight is carried too far back. Common “corrections” used in dance, such as B. “pull up through the spine” can often contribute to this incorrect body position. Tension in the neck and lower back becomes apparent as the ribs open forward, disrupting the balanced relationship between the pelvis, rib cage and head. This imbalance affects balance control, especially in jumping and twisting movements.

How can pictures of my posture help?

The body reacts to the way we think, feel and act. When we’re stressed, anxious, or upset, the body may try to tell us something is wrong through physical sensations or changes, such as high blood pressure, back pain, or headaches. This mind-body connection is a great tool to use in dance as the dancer can more easily integrate thoughts, emotions and actions as they process information. The body is able to interpret the images we form in our mind, using our five senses and our emotions as pathways to experience a “thinking body.”

The connection between image, thought and movement has been well documented for decades. Images help people become more spatially aware. Spatial awareness involves the ability to visualize movement and reason about spatial relationships in relation to body orientation.

Imaginative techniques can be incorporated into any phase of dance training. Not only do they increase postural awareness, but they can also be used to enhance the technical execution of dance movements or create a stronger emotional connection with the physical performances of a choreographic piece. The use of images can also create a positive sense of well-being and help relieve tension.

Effective use of images is a skill that, like reading, becomes “automatic” over time. When acquiring this new skill, the initial learning is often a struggle and it takes time to integrate into your dance technique. It’s not always how much you do, but how much benefit you can get from your time practicing both physically and mentally. In many cases, less effort yields more rewards when what you’re working on is done carefully and with full awareness of your body and its alignment before, during, and after a movement or sequence of movements.

There are many ways to explain and explore correct postural alignment, but generally the body is aligned using the concept of a plumb line around which the head, thorax, and pelvis are vertical. Practicing a movement with misalignment only reinforces misalignment, resulting in wasted time and energy. It’s possible to dance well with these misplaced relationships, but over time it leads to injury. You may also find that complex movements can only be performed well sometimes and not every time you try to perform the movement.

Always check your weight and body position before practicing any movement to get the most benefit from your efforts. Bringing the weight forward will feel strange at first; like you’re standing on an incline. This is a normal response to a shift in spatial awareness.

Over time and with careful practice, this “new” alignment will become second nature and improve your overall control and balance of your body.

Imagery and dance training for technique or performance

Imagination training combined with dance training creates the ability to improve learning skills and performance. The dancer may choose to use imagery to enhance a dance performance or some aspect of their technical (spins or jumps), psychological (fear, confidence), or physiological (intensity) performance.

Images can be used to think about a new dance step and how to perform it, or to prepare for a performance. “Thinking” the dance step or performance before attempting it can help improve movement execution and performance.

You can choose to take an internal or external perspective; This means that you can imagine actually performing the movement, internal view, or you can imagine watching yourself perform the movement, external view. You should use the view that best suits your personality or the situation.

Imagination training needs to take place in realistic conditions, be clear, and be “done” at the right pace to improve performance. If there are errors in the presented performance, then it is useful to slow down the frame rate until the errors are corrected.

For dance imagery to be effective, you must develop and consistently apply a systematic program both in the classroom and outside the studio. A dance image program should include:

Set achievable image goals in order of importance. It helps to keep them in a picture journal.

Practice situation-specific imagery.

Use the images in class after receiving feedback before moving on to the next activity or preparing for a performance.

Practice images outside of class 34 times a week for about 10 minutes each time.

Be patient as it may take 68 weeks to see results.

Physical exploration of images for postural alignment

It’s useful to have a full-length mirror with you when trying to establish your alignment. You can refer to points or landmarks on your body to find your posture. Try to stack each of the dots on top of each other to get them in a vertical line. Start exploring from your feet and slowly work your way up to your head.

Your feet form a “support stand” under your body, placing more weight on the balls of your feet than your heels. Imagine your toes extending across the ground like gecko toes and your heels resting on spongy marshmallows.

Try to balance the side of the ankle where the ankle bone sticks out below the points on the side of the knee and the side of your hip just above. Imagine three brightly colored building blocks stacked right on top of each other. Be careful not to snap your knees. Alternatively, imagine sucking double thick milkshakes down the middle of each leg and connecting the middle of the heel to the middle of the sit bone of each leg.

Allow your pelvis to hover directly over both of your femurs. Your hip bones should not tilt forward or backward. Imagine you have a long dinosaur tail that falls to the ground. This helps raise the front of your pelvis and lengthen your hamstrings.

Now balance the side of the rib cage, shoulder girdle and head as your imaginary line continues up through the midline of the ear. The line is like a seam in a body suit that runs down the side of your body. Make sure your seam is as straight as possible.

The back of your chest should be full and wide like the sails of a beautiful sailboat gliding across the waves. The front of your chest should be broad and soft. Now focus on your spine. It should feel elongated, with an awareness of your entire spine from the coccyx (dinosaur tail) to the base of your skull. Let the skull float on an imaginary feather pillow. Imagine champagne bubbles floating your vertebrae apart but keeping them cheerful and happy as they follow the curves of your spine. Take a deep breath and relax, but keep that feeling of effortless lightness in your well-aligned body.

Stand on the balls of your feet and gently contract your abs while keeping your shoulders relaxed, away from your ears to aid in balance. Lower your heels (think marshmallows), keep most of your weight over the balls of your feet (gecko toes), and stay extended through your spine (champagne bubbles). If you started your ascent with a forward sway, chances are your weight is too far back.

Carrying your weight too far back can put a lot of extra pressure on your lower back and over time can lead to pain and impair balance control, especially when working on the ball of your foot or toe. Try to keep your lower back straight by imagining your dinosaur tail and the full sails on the back of your rib cage. You should still be able to breathe easily and without straining. If you try too hard, you only tense up and create more discomfort.

When the weight is carried too far back, the “pull up” cue often creates tension and encourages you to move your chest back and forward your ribs to gain length. This adaptation can make it difficult for you to move with full control over your alignment, especially when jumping, turning, or changing direction.

Bringing the weight forward will feel strange at first; like you’re standing on an incline. This is a normal response to a shift in spatial awareness. Over time and with careful practice, this new alignment will become second nature and improve your overall control and balance of your body.

Examples of images

Here are a few more pictures that you might find useful…

Images for spinal alignment

Bottle of champagne/fizzy drink

Think of the torso as a champagne bottle with the cork sitting on the crown of the head and the base in your pelvis. Feel the champagne bubbles rise up your spine, effortlessly pulling the three main body weights apart. Be sure to release the tension from your shoulders by imagining that your shoulders are like the condensation forming on the champagne bottle, gently rolling down to the bottom of the bottle.

hot air balloon

Your pelvis is the basket of a hot air balloon, your abs are the ropes separating the basket and balloon, and your rib cage and head form the colorful silk balloon. Your breath is the flame that lifts you into the air. Your feet will resemble gravity trying to pull you back down to earth.

boat and anchor

Your head is a boat gently rocking on the waves and your tailbone is the anchor resting on the seabed. A chain connecting the boat to the anchor resembles your spine ready to move with the currents in the water.

Images for rib cage placement

sailing ship

The chest is wider at the back than at the front and the lower ribs sit just above the waistline. When the ribs are properly aligned, the front of the rib cage will “disappear” into the body, but be careful not to push the ribs down toward the abdomen. The back of the chest should feel light and free, just like the sails of a sailing ship filling with air. Imagine the air being blown into your abdomen and under your chest, helping your body glide over the waves.

Images for foot and leg alignment

Gecko toes, marshmallow heels and double thick milkshakes

Their toes are similar to the suction cups on a gecko’s toes, which spread out and “suck” onto the ground. Your heels should feel light and fluffy and slightly springy to encourage your body weight to shift slightly forward. Now imagine straws connecting the middle of the foot to the sit bones on each side of the body, and imagine you’re “sucking” a double-thick milkshake down each leg. In dance, this action is often referred to as “pulling the legs up.” However, this often results in a student kneeling to counter this action. You can remember to keep the straw straight and not bend it at the knee. If the straw bends, the milkshake can’t reach your sit bone. You should feel the backs of your thighs (hamstrings) and lower part of your buttocks (lower glutes) contract very gently to help your leg alignment. Locking your knees backward reduces the power you have available for jumping and balance control, and increases the risk of injury

Copyright © 2010 Dance Aotearoa New Zealand

Graceful posture is the key to beautiful dance moves. Proper body alignment allows the dancer to move freely and reduces the risk of injury. Poor body alignment puts undue stress on muscles and joints, while proper alignment helps strengthen the dancer’s muscles. Learning proper alignment or posture is often the first step in learning to dance.

Stand facing forward with your arms hanging loosely and naturally at your sides. Your head should sit straight on your neck, neither tilted forward nor reclined. Avoid hunching your shoulders. Check your alignment in a full-length mirror.

Soften your knees. Stand with your knees over your toes. The kneecap should not reach over the toes. Don’t lock your knees, as this puts extra strain on the backs of your knees and puts pressure on the base of your spine.

Align your spine so your back is straight, still with the natural curve at the base of the spine. Your shoulders, hipbones and knees should be in line. According to Andrea Adams, postural alignment specialist at Moving Synergy in Austin, Texas, stacking these major joints like rungs on a ladder reduces stress on the joints.

Distribute your weight evenly on both feet, flat on the floor. Do not roll your feet inward or outward.

Relax. Tightening your muscles can strain muscles and joints and throw the body out of alignment. Regular exercise and relaxation techniques like deep breathing can help you relax.

Tips When a dance move requires participation, pivot at the ball joint and not at the knee or ankle. Turnout allows you to lift your leg higher.

The school must adapt its programs to the state requirements. New orientations were created within the political party.

Current examples on the web

In a way, their proposals could be seen by Microsoft and Cisco as an attempt to bring US and European countries closer to tax transparency. — Nana Ama Sarfo, Forbes, June 28, 2022

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In the rarest solar eclipse imaginable, Joe Biden and Donald Trump agree on one thing: Russia’s invasion of Ukraine must not drag us into World War III. — Daniel Henninger, WSJ, March 16, 2022

Aside from fogging, even clear masks prevent therapists from using tactile cues like straws or tongue depressors to press the patient’s tongue into place, or bite plates to hold the jaw in alignment. – Stephanie H. Murray, The Atlantic, March 2, 2022

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