Emma Sandall danced with Béjart Ballet Lausanne, the Royal Ballet, Scottish Ballet and West Australian Ballet. She teaches for companies and schools in Australia, Europe and America. She writes a regular column, Ask Emma, in Dance Australia Magazine. She is a certified personal trainer and Pilates instructor, and still performs from time to time and will keep on dancing as long as her hips allow!
Patricia Delgado in rehearsal with Pam Tanowitz. Photo by Rachel Papo
When Patricia Delgado was a young dancer in Miami City Ballet, she always felt the need to keep practicing immediately after a performance. "It was a bit of a neurosis," she says. "I felt like I should use the warm, energized feeling to work on things for the future."
Then a series of injuries and surgeries forced her to rethink her post-performance practice. Instead of continuing to push herself, shestarted to take some quiet time to de-stress and be grateful for what she had been able to do. She was truly surprised by the results. "I started to wake up with my head filled with ideas of how to make that new day productive," she says. "It's like I was getting out of my own way by doing some meditation after the show."
Forsythe's in the middle, somewhat elevated uses the battement like an attack. Photo by Alexander Iziliaev, courtesy Pennsylvania Ballet
Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,
"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."
"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "
They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.
A pointe class at Youth America Grand Prix, where performing on pointe before age 11 is now prohibited. Photo by VAM Productions, courtesy YAGP
In 2018, the Youth America Grand Prix added a rule: For participants under age 12, performing on pointe became strongly discouraged. For those under 11, it became prohibited.
The competition organizers made these changes after jury members, teachers and others raised concerns about students being pushed to perform on pointe too early. Larissa Saveliev, YAGP co-founder and director, says, "Ten years ago we didn't have to have these rules because nobody was progressing that fast."
As ballet prodigies get younger and their abilities more extraordinary, many are asking, How young is too young to let their bodies dance on the tips of their toes?
Learning to harness your hormones can help you use them to your advantage. Photo by David Beatz/Unsplash
For dancers, the ups and downs of a menstrual cycle can be inconvenient, to say the least. But learning how the monthly hormone fluctuations affect you can help you understand your mood, energy and appetite, and even your focus, coordination and confidence in the studio. It also makes your cycle that much easier to manage—and even embrace.