When I was younger, kids in my ballet class were awarded stickers for coming to class in the proper uniform with their hair in a neat ballet bun. My mom arranged my thick natural hair into individual braids that were nicely pulled back for class, however, I was the only girl who did not get a sticker for being in the proper uniform. I was always told my hair was not right for the class. Eventually, I told my mother about the issue. We met with the director who apologized, and I finally got my stickers. This experience was traumatizing for me. It could have deterred my interest in this art form. Ballet schools must be more accepting of the cultural and racial differences of their students. The ballet community should accommodate hairstyles for Black dancers who have beautiful, naturally coarse hair. Training to be a professional ballerina is challenging and takes a lot of discipline, regardless of who you are. Read more in our September Issue.
Come Train with Me!!! If you didn’t know, I bought a building in Arizona and opening my own school! The school itself can only accommodate 36 dancers. The building is great, completely remodeled with two beautiful full size studios. If you haven’t comitted to a year-round program yet, and you are looking for a place to train, feel free to apply here: CLICK HERE
The Ballet Clinic is a place for serious dancers to come in, get their work done, and get out. Our schedule for advanced dancers is Tuesday-Friday, and optional classes on Saturday. Classes on weekdays start at 5:00 PM. For those who are homeschooled and want extra classes, we offer morning class twice a week.
We are still looking to fill 2 advanced/pre-pro boy spots and 2 girl spots (preferably ages 14+ who are looking to go away to a full-time professional school next fall). In our beginning group, we still have 6 spots left. Our faculty includes: Ashley Baker (ballet), Eric Hipolito Jr (mens, boys,pas de deux), Terin Christopher (contemporary) and myself.
Fall Semester Starts September 9!
Turning In to Find Your Turnout
I think there is a big misunderstanding among ballet teachers and other teachers when it comes to turn in and turnout. The two cannot be separated because anything that is not turned out completely is turned in. I also believe that when it comes to working on the floor or barre work, sometimes it is better to work turned in. In fact, as we know from previous videos, I think it is important to work turned in to find a dancer’s turnout.
So, while I believe dancer’s should cross train in modern, jazz and hip hop, because of the different muscles groups each one focuses on, I definitely don’t believe in overtraining muscle groups that are going to hinder ballet technique. This means that anything that is going to lock up your quads and hip flexors, I am against. One of the best ways I think that any dancer can become stronger and be more in tune with their body is to discover how the hip socket works. (Click here for some other hip stuff from earlier posts.)
Taking a look at dancing turned in, into find your turnout.
Standing in sixth position properly aligned means that foot is perfectly turned in with proper knee and hip alignment. (proper alignment being shoulders over hips, over knees, over toes.) When standing in sixth position facing the barre one leg will automatically be in perfect turn out, if you rotate your hips towards left hand at the barre… When doing this you want to make sure you are really focusing on the SUPPORTING LEG. Remember the point of barre is to get you on your supporting leg and build strength in that leg, okay and to make your feet stronger… but the main focus is to get you on your leg and to do so, one must really build the back of the legs, rotators, and core.
Okay, so now you just have to discover the rotation in your hips. So here is Lauryn Brown (Insta: @laurynlanee) demonstrating some of the turned in to turnout combinations we work on at the Ballet Clinic. By all means it is not perfect, but she is working very hard on building the strength on her supporting leg.
Remember most of these combinations are designed to work the supporting leg’s turnout.
If you do these exercises properly, you will reshape your legs and increase your turnout drastically.
Things to keep in mind, holding the spiral of your supporting leg.
Finding your crease/ booty indent every time. Where the leotard cuts around the leg should be completely folded into the hip socket, the back/side of your quad & IT band should be completely flat.
Find squareness to the supporting leg, not the working leg. This is not a normal ballet combination, so if you can’t completely open to the side yet, DON’T. It is okay to be in a semi-ecarté position.
Don’t let the supporting knee give .
Don’t roll on the supporting foot.
Don’t put weight into the working leg.
When finding Arabesque- let the hips do the work, NOT YOUR BACK.
Check Out Lauryn’s Tutorial on Audition Make Up