<![CDATA[Virtuosity Dance Centre, Golden CO - Blogs/Thoughts]]>Mon, 05 Mar 2018 18:57:03 -0700Weebly<![CDATA[Moving up to the next level]]>Fri, 22 Dec 2017 21:20:39 GMThttp://vdancecentre.com/blogsthoughts/moving-up-to-the-next-levelPicture
Class Levels and Moving Students Up
​Another Point of View

June 8, 2017
Bill Waldinger

There has been some talk in the “Teachers’ Groups” again about students being moved up a level before they are ready. I have written about class levels in a previous post (https://classicalballetandallthatjazz.com/2016/12/06/class-levels/) but I recently heard about a colleague’s experience that is making me look at the situation from a very different point of view.
This colleague owns a beautifully run recreational dance studio. The school provides three levels of ballet, and they are structured as follows:
Ballet I – ages 7, 8, 9
Ballet II – ages 10,11,12
Ballet III – ages 13, 14, 15
These are guidelines, not hard and fast rules. Exceptions are often made (in both directions) for children who advance very rapidly, for children who start late or for many other reasons. But it is typically expected that a child will stay in each level for three years.
I would now like to relate to you what happened this year, at this beautiful studio, when a student was moved up to the next level before she was ready. Every word of this story is true.
This student (we can call her Laura) begin studying ballet at the studio in September 2015. She was almost 8 years old, had no previous ballet experience, and was placed in Ballet 1, where she belonged. Laura was in no way a remarkable talent, and most definitely had behavior issues. But she came to class, did the best that she could, learned a little bit of technique, learned some choreography and performed in the year-end recital. This past September (September 2016), Laura returned to the studio to continue studying ballet. She was again placed in Ballet 1, where she belonged. After the first class of the season, the studio owner received a phone call. Laura’s mother would like her to be moved up to Ballet 2. It was explained to the mom that Laura was in no way ready to be moved up. The studio owner explained that if a student trains in a class that is too advanced for them, what ends up happening is the student learns next to nothing. The student will learn steps; not how to dance. It was explained that building a dance technique requires rigorous training in a methodical way. One has to build the foundation in order for the house to stand. Laura’s mom responded as so many moms in the past have in this situation: “I know my child, and I know that my child will thrive when she is challenged. Besides, she is very mature for her age and she always does better with older children. If you aren’t going to move her up I am going to have to rethink idea of her taking ballet classes.”
In previous years the studio owner would have allowed this mom to walk out of the studio… But this has been a difficult year and she was in a situation where every student counted. So against her better judgment she agreed to move her up.
One week later She receives a call from “Susan’s” mom. Susan’s mom said that if Laura has been moved up to Ballet 2 she wants Susan to be moved up as well.” Like Laura, Susan has only completed One year of ballet. With Susan and Laura being moved up to the second level, there were only two students left in Level 1 who were not seven-year-old absolute beginners. So the studio owner decided to move them up as well. She also decided to not lower the level of the work presented in Ballet 2, simply because these four dancers were moved up.
And here is how it all played out: This very fine teacher is now attempting to teach a class that ranges in age from 8 years old to 12 years old. She has dancers who are in their second year of training, and dancers who are in their sixth year of training. This is a class that is impossible to teach effectively. Now some of the older students started dropping out. They didn’t want to take class with students who were four years younger than they were, and felt that these younger students were holding them back. Each time a student left, an enormous amount of time was spent reconfiguring choreographic formations to accommodate the fewer number of students. Countless hours of classroom time was lost to re-setting recital choreography. And now as she approaches the recital, she has a group of dancers with a wide range of ages, who have learned very little this year, and are about to perform in a recital for which they are not ready, a piece of choreography that simply looks like a mess.
As an experienced teacher she knew it was a mistake to move Laura up to the next level. What she never could have imagined was the impact it would have on the so many other children in the class, causing several others to drop out, and pretty much ruining the educational experience of the dancers that remained.  A lesson was learned here. A really big lesson…and it wasn’t the students who did the learning this time.
I receive emails regularly from studio owners asking about how to deal with this very situation. None of us are perfect; we all make mistakes. Laura’s mother’s insistence that her daughter was special, and needed to be moved up, lead a wonderful teacher to make this mistake; a mistake that impacted many many children.
I received a phone call from a student’s father a few days ago, asking if his daughter would be moved up to the next level next year. Without missing a beat I said “NO”.
Lesson learned.

<![CDATA[Going on Pointe]]>Fri, 22 Dec 2017 21:09:08 GMThttp://vdancecentre.com/blogsthoughts/going-on-pointePicture


Not everyone should dance on Pointe.

Before reading below, please download the Perfect Pointe Parent's Manual.
It is written by dance physiotherapist/expert, Lisa Howell.

Before we talk about Pointe, which is a part of ballet training and not a separate dance form, read these statistics...

Studies show:

Children who participate in and study the arts…
  • Have higher SAT scores;
  • Are less likely to engage in delinquent behavior, enter the juvenile court system, and drop out of school;
  • Spend fewer hours watching television;
  • Are better able to complete a task from start to finish;
  • Are more resistant to peer pressure;
  • Have higher self-esteem;
  • Exhibit creativity and imagination;
  • Are better prepared to live and work in our diverse society.source

The decision to start pointe work should be made 
only by a skilled and knowledgeable ballet teacher. 

Students attempting pointe work before being ready risk, at the very least, building bad habits which may take years to correct. More serious is the potential for injury or permanent damage to the bone or muscle structure of the foot, which far outweighs the risk of disappointment. 

To avoid these problems, a teacher must consider several things in selecting students who are ready to begin pointe work: 

Age -- No student should attempt pointe work before the age of 10. The pressure of the body's weight on the foot and toes, which are still soft and growing before that age, can cause malformation of the bones and joints. Many teachers prefer to wait until the student is 11 or 12 years old. 

Training -- The student must have had at least two to three years of serious ballet training and be currently taking at least three classes per week. This is the minimum time and preparation needed for a student to develop sufficient technique and strength to prepare her for pointe work. 

Bone Structure -- The structure of the student's ankle and foot is of great importance. The ideal foot has toes of nearly equal length which provide a "squared-off" platform on which to stand. Students having a long big toe may experience some difficulty and discomfort on pointe, since the entire body weight must be supported on just the big toes, but this type foot does not necessarily prevent the dancer from dancing well, safely, or relatively pain free. 

The most difficult foot shape to work with is when the second toe is the longest. If the difference in length is slight, certain modifications can help relieve the pressure on that toe. If the difference in length is great, the teacher may discourage the student from attempting pointe work. 

The second structural consideration is the degree of flexibility in the ankle and amount of natural arch in the instep. A student whose feet have insufficient flexibility and /or arch will not be able to place the ankle in a direct line between the knee and the toes on pointe. The dancer who is not able to stand on the tip of her pointe shoes should not be allowed to attempt pointe work. 

A foot that has an extremely flexible ankle and/or an extremely high instep will need special care and consideration from a teacher with a watchful eye. This type ankle is often very weak and may require extra strengthening work before pointe work is attempted. 

Physique -- The student's individual physique must be carefully evaluated. She should have strong abdominal and back muscles which hold the torso in proper alignment, and she should show consistent use of these muscles in and out of ballet class. 

Strong leg, ankle, and foot muscles must be able to hold the entire leg in proper alignment. Supinated or pronated ankles are a great risk on pointe and careful attention must be paid to assure that the muscles around the ankle are sufficiently retrained to hold the ankle strongly in correct position.

A student who is overweight risks damage or injury from the extra pressure placed on the toes and should be encouraged to lose her extra weight slowly and sensibly before beginning pointe work. 

Attitude -- The student must have a good attitude: paying close attention to and working diligently on the corrections given by her teacher. 

Peers -- It is important for students and parents to understand that the guidelines listed above are minimum age and technique requirements. Because students develop at different rates, it is unlikely that an entire class would be ready to attempt pointe work at the same time. Most students who require further work on posture, strength, or other special problems will eventually be able to join their classmates on pointe. 

In a few cases, after careful consideration of the student's physique and foot structure, the teacher may deem it best for the student that she not attempt pointe work at all. 

The age range is wide and heavily debated. Some teachers say a child should start pointe work at eight, others twelve, and still others even older or younger. But how do you know the right answer for your child, your student or yourself? One of the major considerations is bone ossification, which is the natural process where soft tissue hardens or calcifies to form bonelike material.
There is wide and very well documented research on bone ossification. At ages 10-11 the ossification of the bones of the feet, in girls, is normally only 50-60% complete. By age 11½-12 it is approximately 75% complete, and by age 13-14 the fusion is usually at 100%. But, the development of the bones in the feet continues up until 20-25 years of age. In boys this process is usually a year later than girls. 

So, what does this mean? One should not start a child on pointe before a minimum of 75% ossification, and then only 10-15 minutes at the barre for 6-8 months. At that pointe, you can work up to 30 minutes at the barre only. Then at age 13-14, with normal development, if the fusion is 100% then you can start to work in the center and gradually over another year work up to 1 hour on pointe.

How Can I Be Sure?
The only way to know if your child is at the correct stage of ossification is to have x-rays. After these
are complete a radiologist can tell you whether the bones are at this 75% minimum level. No one, no teacher, can tell you this. Yes, some children develop more quickly, and some less. So, your
child's bones may well be ready for this beginning work, or they may be even less ready. Some do not have the necessary level of ossification until they are 14.

The point that I and others are making is that children should not be put at risk like this. The chances increase dramatically of bone malformations, bunions, hammertoes, and crippling effects in old age when these guidelines are not adhered to. Though many will tell you that they've been on pointe for several years with no problems, these problems are not necessarily seen until later, often much later, unless you examine the bones under x-ray.

What are the Effects?
It may help for you to understand that, at least as I understand it, dancing on pointe can put up to 10
times a dancer's body weight on her feet/toes/ankles. This is IF she is perfectly aligned while dancing, which is not usual until a dancer has actually been on pointe for quite a few years, and even then they aren't always perfect.

I believe if there is only a 2 degree difference of placement on pointe - you can add another
approximately 35% of her weight. In other words, as i understand this - if she weighs 100 pounds, that is equivalent to - up to 1000 pounds of pressure on her foot/toes/ankle. With another 2 degrees of imperfect alignment this would be the equivalent of another 35 pounds of pressure. So if the bones are not finished developing and ossification is not sufficient this will malform bones and cause other completely unnecessary problems that can be very serious and even crippling.

Also, this information was based on a study of pressure primarily to the ankle, which is a wider area
than the tips of the toes. So, that figure will be less than the actual pressure coming to bear on an even smaller area of the toes/platform of the pointe shoe. In other words more than 10 times the body weight may be the case. (And those of you that have to replace pointe shoes often because of soft boxes can relate!)

Ok, that gives you a clearer picture of why many of us are so concerned about this early pointe work
that is all too prevalent in the world of ballet. Most children who are started too early can, and often do, suffer from bone deformity in their toes, joints, etc. In some cases these are quite serious problems.

Often these problems do not show-up or cause trouble until they are older. Additional problems other than damage to the feet, are impairments to knees, hips, ankles etc.. Many of my former teachers - some of whom are no longer living, had horrible problems that they blamed on this very practice. And they were instrumental in helping educate teachers, parents, etc. along with the medical community regarding this.

Won't that Put My Dancer at a Disadvantage?
This practice of starting children on pointe so early should be considered irresponsible, as the bones are entirely too malleable. These teachers need to be educated so they understand and stop this practice. The bones in a child feet have not finished the ossification process. Their time would be much better spent strengthening their muscles and working on proper technique. With concentration in those areas, the musculoskeletal structure can better handle the demands of beginning pointe work without causing such damage. It should be noted however that some children's bones and muscles in the feet are not ready even at 12-14 and that they should wait an additional 1-3 years before commencing pointe work.

A good teacher will not necessarily put an entire class on pointe at once, it should be done on an
individual basis. The children can all participate in the pointe exercises on flat, until their time comes. It is well worth the wait - they will catch up quickly with the ones who started earlier, as their technique
on flat will have matured at the same, or quicker rate

Explaining this all to your daughter will help her understand the reasons why. So, along with the
natural feelings of disappointment, she will know that when she does start, it will be better for her, her
bones, and her dancing career if she decides to pursue this.

There is so much research available regarding bone ossification, and too many teachers putting children on pointe prior to a minimum 75% ossification. At age 10-11 this is between 50-60 percent in most children. This information has been available for many years - one of the first, and in my opinion best, writings on this was in 1949 Anatomy and Ballet by Celia Sparger.
First Reference from Anatomy and Ballet by Celia Sparger (fifth edition-1976):

This question has already been touched upon in the previous chapter, but it is of such paramount
importance that it is worth while to enlarge further on the subject. Although the recognition of the danger of too early pointe work is far more widely accepted than a few years ago, it is still possible to buy blocked shoes to fit a six-year-old and to find classes where they are allowed to wear them.
It cannot be too strongly stressed that pointe work is the end result of slow and gradual training of thewhole body, back, hips, thighs, legs, feet, co-ordination of movement and the "placing" of the body, so that the weight is lifted upwards off the feet, with straight knees, perfect balance, with a perfect demi-pointe, and without any tendency on the part of the feet to sickle either in or out or the toes to curl or clutch.

This movement will arrive at different times in different children, not only by virtue of previous training
but according to their physical type, and in this may be included the growth of the bones.
All the bones of the body begin as a relatively soft material known as cartilage which becomes
progressively ossified into "true" bone at different times, being completed as late as twenty-five years.

During this period there is a gradual hardening from the centre outward. In the long bones, such as
those of the leg, forefoot and toes, the shaft ossifies first, the ends known as the epiphyses remaining connected to the shaft only by cartilage until the early teens, with considerable variation between one child and another as to the exact time at which the cartilage becomes bony. Ideally, if pointe work could be delayed until this time in children...no doubt their feet would be safeguarded, but this is a counsel of perfection, the most that can be done is to prepare the whole body as perfectly as possible, and to ensure that the introduction of the work on pointe is slow and gradual, rarely earlier than twelve years of age and preferably later.

The fact that some feet can be found to have survived the abuse of tottering around on blocked shoes from the age of six onward is no criterion as to its safety. The author has met at least one case of a child whose strong feet were unharmed by "dancing" on pointe at six years old, but who succumbed later with knee trouble. There is little doubt that the strain had been resisted by the
feet but had been transferred to the knee joints.

The further question is, however, should a child do any pointe work unless she is taking her dancing
professionally? The once-a-week class can never be a suitable preparation for pointe work, and what is gained by including it? On the other hand, a risk is being taken which may result in lifelong disability. The teacher does not see the results. The child gives up her lessons as other things claim her and if, maybe years later (for damage does not always show at once), she has foot, knee or back trouble, she goes to a doctor for advice, not to her one-time teacher. The doctor, then, rightly enough, condemns ballet and is unable to do much to repair the damage.

With the child who is going to train professionally it is different. Her training will be systematic and
concentrated, and, just as every profession has its risks, this is one which has to be taken. In honesty one must say there is a fair amount of enlargement of the big toe in ballet dancers, but only in a slight degree and not to cause any great trouble;..."

I'm not saying I agree with the part of the quote regarding whether a child should completely forego
pointe work if they are not intending to dance professionally, because many times children may not
have those professional aspirations until they are 15-16 years old, so if they are interested really want to go on pointe and are attending at least 3-4 classes a week, then personally I would not discourage this.

Note: Celia Sparger uses many references, radiology photographs of differing types of bone ages and ossification in this book. This is a wonderful book for any teacher and is actually meant to be "A
Handbook for Teachers of Ballet". If you can locate a copy of this book, even an older edition, it would be well worth the search. The 1970, 1972 and 1976 printing of the fifth edition includes 43 x-rays and photographs and 51 drawings.

Second Reference: Both Sides of the Mirror - The Science and Art of Ballet by Anna Paskevska (first
edition 1981 -second edition 1992): "Bones have varying rates of ossification. Epiphyses are layers of cartilage whose presence in the bone indicates that it has not completed its growth. As growth ceases the cartilage gradually becomes ossified; when closure is completed no more growth can occur. Some epiphyses do not completely ossify until the twentieth or even the twenty-fifth year. The bones that concern us here are in the lower extremities and bear the burden of supporting the body's weight. The femoral head, the lower end of the tibia, as well as the numerous bones of the foot, normally begin the process of ossification in the fourteenth year. This process is not completed until the twenty-first year (a little earlier in females).

From these figures, we can deduce that putting girls on their toes is a fairly hazardous undertaking
unless the musculature has been developed enough to protect the integrity and alignment of the joints all the way down the leg. We should remember that the force of gravity always acts in a vertical
direction. If the body is aligned from head to foot, the dancer will experience the force in one vertical
plane. But if the body is misaligned, gravity will pull on it in several different places, and various
extraneous muscular contractions will be necessary to maintain balance. 

Thus, it is that malformation and permanent damage can result if a child is put on pointe too early or with insufficient preparation.It takes approximately four years to develop the proper musculature to rise on the toes. If a child begins dancing at the age of eight, she will be ready to don pointe shoes around her eleventh or twelfth year. Even if the child starts dancing earlier (which is not a good idea), she should not begin pointe work much before that time if damage to her skeletal structure and internal organs is to be avoided. 

We only have to think of the old Chinese custom of binding the foot, which stopped its natural growth, to realize how malleable and vulnerable a young body is and how carefully it must therefore be nurtured in its growth and development."

Anna Paskevsa also sites many, many references and has done extensive research on this subject. This book is incredible, and she goes on to describe very precisely what needs to be accomplished with the dancer prior to pointe work. This one is good not only for teachers but also for parents and eventually students with more advanced reading skills.

Third reference: Anatomy by Gardener, Gray, and O'Rahilly - this is primarily for medical students - but it charts the ossification in the "Median Times of Appearance of Postnatal Ossification Centers in the Lower Limb".

"The metatarsals: 50% ossification appears at age 10 in females and age 12 in males. Fusion is complete radiographically (however bones continue the ossification process). In females age 13 for the tuberosity of the metatarsals, and age 15 for the Heads or Base of the metatarsals. In males this would be ages 14 and 16 respectively."

Last Reference: Inside Ballet Technique - Separating Anatomical Fact from Fiction in the Ballet Class by Valerie Grieg: "The dangers of putting young children on pointe before the bones of their feet have begun to ossify have been so well documented that it hardly seems necessary to mention it here...."

Dr. William Hamilton, writing in Dance Magazine (Feb 1978), relays to us the delightfully commonsense viewpoint of Balanchine, who remarked that, children should not be put on pointe until they have the strength and training to do something when they get up there. This would usually be after about 3-4 years of quite intensive work, so the dancer would necessarily be at least eleven or twelve years of age. A delay of several more years would do no harm, provided the training has not been interrupted during that time and necessary strength has been developed.

Capezio/Ballet Makers, as one of this firm's many services to teachers and dancers, has printed a
brochure entitled: "Why Can't I Go On My Toes?". The last information I had for getting that pamphlet by Capezio was: "Teachers in the U.S. can obtain these free brochures by calling 1-800-234-4858.

So the research backs the notion that one should not start pointe work before the ossification process is at least 75% complete and then that work should be a gradual process. There is a serious need for education of parents, teachers and summer intensive programs that tend to do it as it has always been done. Just like many other things in our world today, we must rethink our ways when we have better knowledge and recognize that our dancers of today are doing more spectacular things than dancers of the past. We have an obligation to use this knowledge responsibly.

<![CDATA[What to expect at VDC in regards to performing´╗┐]]>Thu, 28 Jul 2016 23:58:55 GMThttp://vdancecentre.com/blogsthoughts/what-to-expect-at-vdc-in-regards-to-performing​While dance is a performance art, we do not require students to participate in our shows.  If a family does decide to participate, however, then rehearsals are mandatory and good attendance to class is a must. At the beginning of each semester, your family will receive performance registration forms that will let you know the date of which we need to know if you plan on opting out of the performance.
There is generally one piece from each class in our show (company dancers excluded).  How much stage time a dancer gets is directly related to class participation and attendance. 
Costume fees are assessed in the amount of $60 per piece.  If reusing old costumes or wearing tights/leotards that performers already own is appropriate or possible, than we may do that, but please just assume that there will be a costume fee associated with the performance of any class.  Once the costumes have been purchased, they are non-refundable even if a parent decides to withdraw their student from class or the performance. 
We do not charge “recital fees” as many schools do.  Instead, you simply purchase the tickets you will actually use to see your child/children perform.  Please keep in mind that renting a theater and staffing it are not free.  I can promise you that no one is getting rich off of your ticket purchases. 
What to expect for the rehearsal schedule during performance week:
  • Monday- Act I only: 4-6pm
  • Tuesday- Act II only: 4-6pm
  • Wednesday-  Act I: 4-5:30pm
  • Wednesday- Act II: 5:30-7pm
  • Thursday- Act I & II together: 4-6:30pm
  • Friday theater call is 4pm with performance at 6pm
  • Saturday theater call is 12pm with performance at 2pm
Things to know and remember about performance time:
  • VDC works hard to create a performance that is not just a “recital.”  By that we mean to facilitate a professional style environment where our students learn theater etiquette and terminology as well as proper performance techniques and know-how.  We spend a week in the theater together to get to know the space as well as each other and this allows performers to become comfortable with the idea of being on stage.  They also make friends, see other styles of dance and performance art forms, get a chance to look up to the bigger kids or learn to become a mentor and support the younger students.  They have the opportunity to truly connect with their art form and see that it is bigger than themselves while learning to work as a team and fostering their own self-expression.  It is truly a magical week.  The youngest stay enchanted and engaged while the older dancers learn, grow and build confidence in a huge way.
  • Parents are NEVER required to attend the rehearsals 
  • VDC views dance as a performance art and treats it as such.  However, while we strongly encourage participation in our performances, it is not required.  Students may simply take class throughout the semester and not perform at the end.
  • Currently VDC operates with a Fall semester that generally operates mid-August to mid-December with a Holiday season performance and a second (separate semester) that runs mid-January to the end of May and concludes with a second Spring concert of dance. 
  • Producing a show is a huge undertaking and it requires a lot of time and money.  VDC does not charge a, “recital fee,’ as many schools do.  Instead, we do ask the audience to purchase their tickets to attend the performance and we do require the costumes to be purchased by the students/guardians. 
  • The students put many hours and a lot of hard work into their dance education.  It takes hours to learn and perfect one minute of choreography.  For this reason and also to accommodate many schedules, we host our performance twice every season with one evening show and one matinee (company dancers and adults may have more performance opportunities).  Parents do not need to attend every performance (although we hope you do).  We know the schedule can be demanding for families in this modern day.  Just know that your little dancer is in good hands and if they find that dance ignites something within them, they crave the stage time.  The stage is the reward for all of the hours of work put into the studio.  While non-performers sometimes don’t understand this feeling, trust us, your dancers do!
  • As of now, all those extra hours and stage time are free. They are not currently bundled into your tuition hours. So, we encourage you to enjoy the hours that we have your child with us engaged in the arts.
  • It can be hard.  It can be exhausting, we know!  All of the teachers are volunteering their time to be present for the week.  We do our best and are always trying to improve the process.  Adding light and sound tech can be slow and frustrating.  Please try to be patient and know that the outcome is worth the work and time. 
We hold deep gratitude for all of you within the VDC circle and are thankful for the opportunity to pass on this art we love to your children.  Thank you for being a part of our family and for allowing us to be a part of yours.  We are honored.  We are committed to your child’s education and we are here for YOU!
Amanda Hill & Team VDC