Month: August 2012

While I already follow a bellydance practice schedule for myself in addition to teaching my own classes, I have always thought that adding other dance or fitness classes helps to polish and refine my dance. I also find them to be stimulating, creativity-generating, and just plain fun.

But how do you decide what classes to take? Classes can begin to add up especially once you add in your expenses to train with master teachers in workshops and private lessons. I came across this article today taken from The Ballerina Project blog.

If you havent visited the site yes, be ready for breathtakingly gorgeous photos of dancers in the urban realm. You can also find some rather good advice for dancers in general. I particularly enjoyed this article and her tips on navigating the wealth of classes available!

In a quick summation, she states,

1.Know your background. You should know what style of training you’ve had thus far. If you are not sure, talk to your previous coaches, read their biographies; that should at least give you a sense. This has to do with my first suggestion of going to instructors who teach something different from what you’re used to. The nature of experiencing a different approach, phrasing, or philosophy every teacher has is akin to working with a new ballet master or choreographer, and one of the best things you can do when preparing yourself for dancing various types of ballets.

2.In ballet, we always improve. So when you go to a new class, do so with an open mind and embrace everything you can learn and add to the arsenal of your dance vocabulary. Don’t just follow the order of movements, pay attention to details: the musicality of a combination, the amount of attack a teacher might expect in a step, the corrections they give mid-way…

3.Don’t forget what you already know. Just because this teacher does not stress the use of port de bras as much as your old one used to doesn’t mean you should forget it. Keep all that, anything it might be, and add the new layers. Try to identify points of similarities and points of differences. If a movement is taught differently you cannot disregard. Only directors can afford such attitude. You can’t. Master it both ways.

4.Another thing I find very beneficial is going a level up, if there is one, or a level down, of your own (those going down – less often). For younger people the increased challenge, excitement of performing the fancier elements, and often, being in the presence of an admired dancer are but priceless in the development into a professional. For pros and older students going a level down provides an excellent space for re-checking those basics, taking more time with execution, or taking it easy after an injury or a break.

5.Don’t forget to attend your rarer, but all-important class of jazz, hip-hop or whatever. Not only is cross training good for your muscles, it’s good for your coordination, can do no harm to your ballet form (if there is one) and can open up room for movement previously unexplored with the ingrained repetition of ballet.

Enjoy!!!!