A Dancer's First Steps

Even Karen Kain and Rex Harrington had their first steps! Before you can fully express yourself in the language of ballet, it is important to start at the beginning and master the first steps. The following are some excerpts taken from The Ballet Book, published by Key Porter Books. You can explore the many movements and techniques of ballet in greater detail by sifting through the pages of this lavishly illustrated book which features NBS students in various ballet positions. Copies, signed by Karen Kain and author Deborah Bowes, are available at the National Ballet School's Shoe Room.

Choosing to dance
Many reasons draw students to ballet. Joy in movement, delight in make-believe, a desire to perform, or simply a love of music can make you wish for dance lessons. Attending an exciting ballet performance may inspire you to explore the world of dance. As ballet builds self-confidence, good posture and strong, limber muscles, your parents may suggest it. Health-care professionals realize that ballet may be beneficial to young persons with conditions such as scoliosis, or with a tendency to toe in, as it encourages them to work their bodies symmetrically, and with their legs rotated outwardly. Until the age of eight, children would benefit most from pre-ballet classes, emphasizing creative movement and eurythmics. At eight years or older, you are ready to adapt your body to the demands of classical music dance.

Finding a teacher
Once you have decided to take lessons, it is important to carefully choose a teacher. Many teachers are members of the Imperial Society of Teachers of Dancing, which means they have passed at least one teaching exam set by this international organization. Membership does not, however, guarantee good teaching, and you and your parent(s) should observe several classes before committing to lessons.

A strong dance background is essential for teaching. A teacher whose elegant use of upper body, arms and head will inspire you to develop your own sense of presentation. Although many excellent teachers have not danced professionally, a high degree of technical skill and artistry should be evident in their work. The teacher's students should be well focussed and hard-working, but free from undue tension or mannerisms. A good teacher will be comfortable with the French terminology that is used to name all ballet steps. Be certain, also, that the teacher has a clear understanding of basic anatomy, to direct you training safely and effectively. Most of all, you need a teacher you feel comfortable with, one who creates a positive yet challenging atmosphere that allows you to work hard and enjoy expressing yourself through movement.

Musical Accompaniment
Music and dance have been entwined since the dawn of time, creating a form of self-expression fundamental to humankind. In the ballet class, a respectful, inspiring rapport between musician and teacher affirms the importance of musicality in movement. Choose a teacher who has studied music, can give rhythms clearly, tempi consistently, and whose voice expressively communicates musical qualities. The teacher's combination of dance steps should be well phrased, and use a broad range of time signatures and musical forms. An experienced musician (usually a pianist in today's ballet class) will play a wide variety of age-appropriate music, and be sensitive to the students' abilities, as well as to the dynamics and highlights of reach exercise.

If the studio does not employ s musician, a large selection of recordings should be in use. Many excellent arrangements have been designed especially for the ballet class. A good musician is always preferable, however, as the interaction between pianist and dancer is fresh, adaptive and mutually supportive.

The Studio

The ideal studio would be large, airy and uniform in shape, although many teachers do outstanding work in less than ideal conditions. As ballet class begins at the barre, the studio should have barres, which are simply rounded lengths of wood, mounted roughly 30 centimetres from the wall, and 100 centimetres from the floor. Portable barres are also fine, especially in a space that is used for other activities, provided they are sufficiently weighted and stable. You should be able to stand sideways to the barre, and easily kick your legs forward and backward without disturbing other students.

To ensure your safety when jumping, the floor should be sprung and finished in wood, vinyl or linoleum. A sprung floor has some give to it, which allows you to land form jumps without jarring yourself. Dancing on concrete is never a good idea.

Mirrors can be helpful, as they allow students to check their work, but young dancers should not focus on their mirror images throughout class, as this restricts the use of the head, and the development of line through the upper body. High ceilings are also a plus, both practically and psychologically.

Finally, it is important that the temperature in the studio be well regulated, in order to allow the dancers' muscles to warm up easily and then stay pliable throughout class.

What to Wear
Dancers may perform in elegant, often elaborate costumes; however, for class you need simple, close-fitting clothing that has been especially designed for ease of movement. Girls wear a snug leotard - a bodysuit designed by Monsieur Léotard more that a century ago-so that the teacher can check posture at a glance. A sleeveless leotard is a good idea, as it will keep you and your teacher mindful of the line of your shoulders.

Bare legs, with short socks, will allow you to first recognize, and then use, your leg muscles correctly. When tights are worn, they must also be carefully fitted to hug the legs, and not restrict movement. Pink tights are the best choice for girls, as the light colour allows muscle actions and lines to remain clearly visible. Boys usually wear shorts or tights over a leotard, or with a T-shirt, when they are starting out. A unitard, with its uncluttered lines, is another option. Boys also need an athletic support (called a dance belt), and an elasticized belt to hold up their tights.

Boys and girls both need special ballet slippers, which are generally made from canvas or soft leather. They should fit the feet exactly, supporting their shape without allowing any extra "room to grow." You will then be able to see and feel your feet develop strength and flexibility. Elastic, or ribbons sewn securely to the sides of the slipper, will keep it molded to your foot. Sew them where the back of the shoe touches the side when it is folded forward from the sole. Avoid catching the outside of the slipper, or the drawstring, in your stitches. To keep your ballet slippers clean and to prevent the soles from becoming slippery, wear them only when you are inside the studio.

Most girls look forward to going on pointe; however, this does not happen until, after several years of study, your teacher feels you are strong enough. Under their beautiful satin exteriors, pointe shoes have a hard shell made from layers of burlap and glue. You will need guidance from an experienced pointe shoe fitter to find the shoes that best suit your feet, as there are many options available.

Your teacher may also suggest some warm-up clothing to wear while waiting for class, or on chilly days. Close-fitting woolen leg warmers or a cotton sweatsuit are probably best, as they absorb perspiration, rather than trapping it close to the skin. Be certain to discuss all clothing purchases in advance with your teacher, as many schools ask their students to wear specific styles and colours. Remember that snug, simple clothing is best, as it allows you to check your positions and become comfortable with physique.

Position of the Arms
Pictures here are four basic positions. In your ballet class you will learn many more, and will come to see how a subtle change in the use of your head, or the angle of your arm, can completely alter the spirit of the position.

Frame your well-centred body with a softly curved oval. Let the tops of your arms snuggle back in the shoulder sockets and bring your elbows slightly forward, in front of the side seams of your leotard. Feel the energy that reaches across the gap between your fingers and connects each finger with its twin on the other hand.

First Position

Lift your preporatory oval in line with your centre, while keeping the tops of your arms and your shoulders calm and relaxed. This pivotal position can be used as a gateway to other arm positions maintained far a variety of reasons, such as to stabilize turning movements.

Reach your arms out into a generous, open line that slopes slightly down from your shoulders. Keep your elbows buoyant and your arms gently curved, as if to include the entire audience in a welcoming embrace.

Lift your preparatory oval to frame your face. Once again, relax your shoulders as you lift from under your arms. Check that your third fingers softly follow the line of the oval , while your thumbs relax toward them to complement this line.

Positions of the Feet
The position of the foot is determined by the rotation of the top of the thigh bone in the hip socket. Always turn out to your maximum, but never clench your feet or roll them forward. Keep an equal amount of weight on your little and big toe metatarsals (the balls of the feet). Remember that the rotation of your feet will increase as your turnout muscles strengthen. 

With your heels touching stand in your best turnout. Let your feet melt into the floor to give your dancing secure roots.

Keep the turnout you established in first position, and stand with your heels aligned under your shoulders. Your teacher will help you determine the exact width that best suits your physique.

Cross one foot to the middle of the other. Check that your hips are centred equally over your feet, and not allowed to twist forward or back in sympathy with them.

Here your feet are crossed , as in fifth position, but they are separated by approximately one foot length. In this advanced position, you must work hard to centre your hips between your feet, and equalize your turnout and weight placement.

When you can stand correctly and work well from first position, your teacher will probably move your home base to third, and finally to fifth position. You may begin fifth with your front heel crossing to the big toe joint of your back foot, and then gradually increase this crossing action as your technique strengthens.