The Pointed Ankle & Foot

We are doing a lot more work on releve than I am used to, and watching my foot in the mirror or just by looking at it, and comparing it to those who can point better than I, has had me wondering about something. I know "doming" is important to pointe work, but how much? How much of the pointed foot stems from the ankle joints versus the rest of the foot and it's intrinsic muscles? (In other words, do I need to stretch the ankle more than I have been?)

Fear not, we have the world wide web to answer this for us!

This image and the following info was taken from this link. Good read!

The perpendicular line shows where the foot would be if it were flat. Coming counterclockwise, that next line, the dashed one, shows how much of the point is coming from the ankle joint alone. Which means that from the dashed line to the dotted line (all approximate) is how much of the total angle that comes from the foot muscles alone! Those arrows show the joints from which the rest of the pointing occurs.

And an interesting factoid from that article: see the three top bones in the photo? One is the shin (tibia), one is the top of the foot bone (talus), and the other the heel (calcaneus). When a ballerina's foot is fully pointed, those three muscles essentially "lock" together, forming a stable platform! I think that is SO cool- like the body (or some bodies) wants to dance like this!

Random Notes

Here is a lengthy floor barre routine I found online. It looks pretty intense.

I just read that in arabesques, the shoulders are actually supposed to be squared (as opposed to moving the arms?):

She's not holding her left arm behind her; her shoulders are rotated and squared!

Also, for some reason my left hip area up through my torso is very tight. When I cross my right leg over my left, it feels fine but when it's my left leg over my right, it sends an ache from my hips up. I also feel this when working on splits.

Splits Injury. Lesson Learned: Don't Overdo It.

So, remember when I posted about how I'd come very, very close to doing my splits? Well, it's been about five days, and I would like to note that I definitely injured myself! It's nothing major, and I am positive it came from that loud "pop" I heard (in the exact same spot, and my other leg is not injured). I was not able to even work on much flexibility with that leg tonight- I spent that time instead working on it with a tennis ball and my foam roller.

I didn't attempt anything close to a split on the other leg, but I wonder if I've gotten more flexible on it. I wish that pop hadn't happened- I knew then and there it was extremely likely I'd done something wrong.

So, lesson learned: don't try the crazy stunts I pull on here for yourself, for injury can definitely occur!

Update 3/27/15: I am STILL recovering from this.

Update: Sick, Pas de Bourres, Adding a Bra to a Leotard

As luck would have it, just as I was getting over my not feeling so well from the car wreck I was in, I caught a cold earlier this week. It got bad on Tuesday, when I left work early, and I stayed at home in bed Wednesday and Thursday as well. I'm feeling much better. I pondered going to ballet both of those days (though I felt really bad, especially Tuesday), but decided that not only would it probably make me not feel better, I would likely spread it to all of my classmates, who would then spread it to their respective school classrooms and I would just be responsible for this huge catastrophe of sickness. So, I stayed home.

I'm definitely getting back into it today. Nothing too hardcore as I'm not at 100% but I can't not do anything today. I'm already worried my teacher is thinking I'm not taking ballet seriously- and I am! I'll explain to her what happened, of course. And today, I think I am going to work on some of the slower online classes that I know well, the ones by Tamra Chace, and do some stretching. At the end, if I feel like it, I will work on my pas de bourre. I'm really getting the hang of them, and want to really have them nailed the next time I go to class... or at least to where I'm not totally tangled up doing them in class.

I've been working on visualizing those pas de bourres a lot, since I haven't been able to do them. I've been watching two videos over and over to see how gracefully the dancers do them, and then try to imagine myself doing the movements as gracefully. Hopefully that's helping. One is from the Royal Opera House. We don't move front to back, only to the sides, but even so, I'm watching those movements too to help figure out how to gracefully do the sides. This is the other one and I don't even know who these people are, but I like that I can watch several people to see how each of them do the movements.

The other thing I am planning on starting today is this: I've been lamenting about my lack of leotard options as a woman with a D cup/fuller breasts. Basically, I have been confined to plain, basic tank leotards; plain, basic short-sleeve and long-sleeve leotards, and, well, that's just about it. (Although I have recently purchased one with lace at the shoulders, and can wear a bra with clear straps for that one.) But I still have my pretty leotards that I can't wear to class!

So I've decided to recycle an old bra to use with a leotard, probably my older white one (it's seen better days, so I will use it first. Also, it flattens me out a bit instead of pushing me up, which is better for ballet!). My goal is to cut the back off starting from an inch or two past the cups on the side, and cut everything from there back out. Then I am going to fold the edges I cut, and maybe add something else in for reinforcement there. (Excuse me, I don't know sewing terms.) And then I am going to add black elastic strips. With this one, it will probably be three horizontal straps, so that when the bra is on (which will hopefully just slip over my head? Or I may need to add hooks), the front will be supported and in the back you will just see three horizontal black stripes, which will hopefully blend in and look like it's part of my leotard.

I've been looking at a ton of ideas for doing this. I've got some ideas for straps as well. Here are some of the photos that have been inspiring me:

This is how the first one I plan to do will hopefully look, only under a camisole leotard with a very low back. I'm just not sure if strapless will be enough support. If not, I will add straps in somewhere...

Basically what mine will look like, hopefully, only the front won't match and won't be so pretty on my first try!

This was my original idea, for the really pretty black leotard I still have the tags on, because I just don't have a bra to match the straps and without a bra, it just looks awkward. It looks like with this one, you could actually sew in the bra straps inside the leotard straps, though I'm not sure how that will work with the one I have in mind.

I wouldn't put the adjustments there at the top like that, but I plan to use mine for low-back leotards. I'd love to make something where the straps could be worn or not... but if worn, they would match my leotards shape. So, not like the traditional multi-way bras that VS has and such.

Splits Progress!

Disclaimer: What I am about to discuss was probably a terrible idea to try. I'm sometimes my own guinea pig and risk injuring myself for various tricks and such. I do not recommend trying anything in this post. To do so could truly cause major injury!! 

Edit: I did, in fact, get injured! Nothing too horrible, but still a setback. See my post five days later here. 

Edit #2: Please don't do anything you see in this post. A month later, I'm still injured. Read about it here.

OMG, I can't believe I haven't ever posted photos of my splits here! Probably because they are so sucky, but still, that should have been good reason right there, so I can chart my progress. Anyway, let's just say that never in my life have I ever been able to do any sort of split. Not straddle, or either side. Let's say I've never been within a foot of the floor doing splits. Let's say that because it's all true.

That Tsatsulin book I've mentioned a few times... honestly, I haven't read more than what I'd read by the time I first posted about it (well, maybe a few more chapters later that day, but not really any since then). It's marked at page 43 of 157 now, so that's how far I've made it. And yet, those 43 pages have made a huge difference in the way I'm approaching stretching (which, yes, I did yesterday, along with some ballet).

One of the things Tsatsulin mentions is this: one leg can get into a certain position alone, and the other leg can get into another position alone, but yet, I am unable to do both of those things together. Why? There is nothing connecting the two legs together (I don't even know if this is true or not, but stick with me here). So it's a mental thing, a fear thing. My body is not accustomed to being in a split and so it snaps into fear mode when I try to put it in that sort of position, which only serves to tighten me up more.

There's a bunch more, you should at least read 43 pages.

So yesterday, I had on some meditation/yoga music and I was working on stretching. I got into a splits position. I was taking shallow breaths, and I got into this very Zen-like state. (I do not recommend doing what I am about to tell you about AT ALL, but especially if you have never done meditation or aren't very good at visualizing what's going on in your body!) I thought about how my front leg could get into the right position while alone... and it pretty much got there. I thought about the same with my back leg... and I was practically doing splits!

I'm totally not kidding about this. I have photographic proof:

(Pardon my mirror spots)

 Now, I know that is not a full split: my left leg (um, on the left- I'm in a mirror here... for some reason my left front split is better than my right) isn't totally touching the floor. And my right leg is bent behind me. I don't quite think my body is supposed to be turned in that direction; it should be facing the front. So it probably altogether looks a bit awkward. But I DON'T CARE because I'M DOING A SPLIT!

 

Yes, I was able to do it (awkwardly again) on the other side as well! 

I WOULD like to caution: besides the fact that this was probably a terrible idea and I don't recommend it at all, I also heard a very scary, very loud POP the second time I tried that first split. It came from within my hip area and scared the crap out of me. Also, I'm sore today. Quite sore. (And this is the second day after- today's Monday and this happened Saturday.)

Yet, I don't feel like I've done any damage. I'm definitely not doing anything much with it today besides walking, and didn't yesterday either. But honestly, this is about the sort of splits some of the young girls in my class can do- with the back leg bent some- and now I will (possibly) be able to do it too!

And my straddle split improved as well:

Not only have I never been able to get that far apart, I was even able to ease my elbows all the way to the ground (though it was difficult to totally rest that way).

I'm so excited. Thank you, Mr. Tsatsulin! Here is a (pdf) link to Relax into Stretch again.

(P.S. That's one of my new leotards from Discount Dance that I scored for under $15!)

Foot Photos

I'm sure you've noticed by now (my make-believe visitors here) how obsessed I am with pointed feet. Seriously, I am still "doming" all day long at work in my quest to get a pretty (and stronger) pointed foot. So, in honor of that, here are a bunch of foot/pointe photos I've found that I love!

Such a cool angle!

Alicia Gouveia

Melissa Chapsky

Back to class, breathing while stretching, "lengthening" muscles versus "relaxing" them

I made it to class yesterday- it felt soooo good to be exercising and stretching again. (I sat out the second half, due to the jumps.) Somehow, it seems a break did me some good- it feels like I'm slightly more flexible, but maybe I'm imagining it. But when doing center splits, I'm able to get my elbows down to the ground- though perhaps I'm simply not stretching as wide as normal.

(Although I did read somewhere [in a book preview on Amazon, I think, about ballet/dance anatomy] that ideally, a dancer or such will take two full weeks off each year of not exercising (or maybe only gentle exercising, and it does their bodies a whole lot of good!)(I'm not anywhere near a professional dancer, though, and haven't even been doing ballet for a year!)

So, we have a new adult in class! She's taller than me, 21 years old, and about as flexible as I am! So I feel a little less awkward in class now, but slightly more awkward having another adult who may be watching me. (I'm not sure what I will do when I go to adult-only classes if I move!) That's pretty exciting.

I told my instructor, when my left leg was in retire, but would not get that nice, even line like my right leg is capable of getting, that I wasn't able to get that leg out there. She assumed it was from my accident. I tried to clarify after class, but she didn't catch it, and isn't going to call me out on that leg anymore. I'm kinda relieved- I'm trying with that leg but it is simply not shaped to do what I'd like it to do.

How I want my retire to look!

 Before class when I was stretching, though, I did work on my left leg. I put it up in retire, eased up against a vertical barre... bar, and twisted a bit so the leg got closer to the correct position. I held it like that for a minute or so, and when I stepped away from the barre my line looked much better- but I wasn't able to access that again the next time I tried. So my left leg, it seems, will make a nice line in retire, but it is going to take a lot of stretching- and strengthening- to get it to hold that position. (All of this due to my tibial torsion.)

More leotards came in, including a different style of black that I will actually feel comfortable wearing in class! Still have those photos coming one day!

(I mean, LOOK at this! Amazing turnout, foot pointed so well, that leg high up in retire, clean line, just lovely!

I believe I linked to Tsatsulin's book recently, on stretching. He brings up a fantastic point: don't breathe deep breaths when doing deep stretches. When you do so, you're breathing tension into that muscle (especially if you're focusing on the muscle, visualizing it releasing, etc). Instead, it's better to take short, shallow breaths. I tried this yesterday, and it totally helped me.

A note on that: he also recommends not focusing on lengthening your muscles, tendons, fascia. Instead, you are releasing what it there. That totally makes intuitive sense to me. I've never worked on elongating muscles, even when I've read or heard the term "lengthen your muscles". I don't need them longer. I need them to loosen up- the looser they get, the deeper of a stretch and the more flexible I am.

Basic Stretches for Tight Hips

I just found some hip/turnout stretches I'll be incorporating into my stretch routine: "Basic Stretches for Tight Hips" (web page). I've seen pretty much all of these sometime in my life, but as a new dancer, some I haven't worked on yet. (I've also been paying lose attention to exactly what is tight when I'm trying to do my splits, and one of the kinda surprising areas I need to work on for splits are my quads. I especially feel the tightness in that area on the leg going towards the back- it's tight right there at the top of it...)

Anyway, here's one of the poses I've seen before and enjoyed and now will be doing more of, taken from that article.

Office Exercises/Seated Stretches

My job consists of computer work five days a week, eight hours a day (plus an hour for lunch that I may or may not work during). I'm lucky in that I can get up and walk around a bit, and go outside once an hour for my (horrible, I know, I know!) habit of smoking (during which I am usually doing some sort of movement).

Since starting ballet, I've been playing around with various exercises and stretches I can do while at work, while sitting. I've looked around the internet for office exercises/seated exercises, and really haven't found as many as I thought I would. Many of the ones I've found... well, I'm in a large shared office with three other people and the occasional customer, and I'd look ridiculous doing most of what I've found. (How would I explain sitting down, standing up, sitting down, etc. over and over again?? Or holding my arms straight out and doing arm circles, while everyone else is working?) I've been doing some of those I've found, and otherwise been working on creating my own. So I thought I'd start a list here of some of the seated/office exercises I do, and you may want to try as well.

• Doming. Of course this is one. This is my most used one, actually, and THE reason why my arches and pointed feet are improving so quickly! (Seriously, I do it all day long.)
• Calf raises. (I just discovered this one- a different way, which inspired this post.) I've tried the normal seated calf raises, where the feet are in parallel and the lower legs get lifted into releve, but that didn't seem to do much for me. I just set my right ankle on my left knee and then did a calf raise, and the extra weight really helped me feel the exercise. Then switch sides. 
• Seated stretch #1. Same position as calf raises: right ankle on left knee. Lean forward. When you're ready, switch sides. I'm not going to attempt the anatomy here, but I do feel it in a number of places- be careful that you don't overdo this one, or do it too quickly!
• Ankle rolls. Pretty self-explanatory. Raise right foot, rotate clockwise. Rotate counterclockwise. Switch. 
• Pointed feet. Raise right leg slightly. Take foot from flat through demi to full pointe, going slowly. Reverse. Switch.
• Butt clenches. (A little controversy on whether or not this one does anything, and it can be noticeable, so do at your own risk.) Using the muscle only, squeeze one side of the glutes. Hold for three counts, then switch.

To be continued...

Struggling with Leg Extensions?

Who isn't struggling with leg extensions, if you're into dong ballet? It's damn hard to get legs up in the air like that!

If you're a newbie like me, you may be using the wrong muscles! I had a feeling I was, and then I came across a forum thread that totally changed how I'll be doing leg extensions from now on, because I was indeed using the wrong muscles!

I've read about how you're not supposed to use your quads when lifting the leg. For awhile, I didn't even bother trying to figure out this concept because it sounded kinda foreign. Then I happened across that post, worked through sort of like how a poster explained it, and now I can lift my leg (my right one, anyway) without using my quad so much!

I did a modified version of what was said: do a leg extension. (I did mine to the side.) Now hold it there. Hold it there for TOO long. Hold it there until your quad gives out. When your quad gives out (I had a sensation of it relaxing), the correct muscles automatically kick in, and voila! Just like that, you're using the right muscles!

So simple to do! You're welcome :)

Now height? You're on your own for that! I'm so inflexible, and am sure that I will compare myself to the young ladies I will be doing ballet with- who are 26 years younger than me and likely just naturally more flexible than I have ever been. I'll have to really work on catching myself when I compare myself, or it will totally bring me down, as it did awhile back (when I was focusing so much on my imperfections- my poor turnout, my tibial torsion- that it dragged me into this darkness where I wasn't enjoying ballet anymore). But I will be diligent in catching myself before getting dragged down, I will be diligent in working on improvements, and I will be diligent in stretching and strengthening to the best of my body's abilities.

More: Tibial Torsion, Anterior Pelvic Tilt

DISCLAIMER: I am not a doctor. I have no medical training. I do NOT recommend anyone to attempt anything I am about to discuss in this post. To do so could provide serious injury! Furthermore, should I post at a later time positive results from attempting the things described in this post, this still does not mean I recommend anyone trying anything here. I have personally done a lot of research on what I will be attempting (I have exceptional research abilities including the ability to decipher professional jargon and understand it), but since I have never been trained, I could totally be screwing up. "Screwing up" can result in serious injuries and the possibility that if something were to go wrong, I may not be able to dance anymore. I accept these risks personally, but again- I do NOT recommend ANYONE to attempt this on your own and without the help of a trained professional.

I've been reading more on tibial torsion and anterior pelvic tilt. This video is short and simple and says that the rotation of my foot outwards (tibial torsion) can be caused by an IT band that is too tight. That makes sense.

I've also been reading about kinesio taping. I mentioned that I tried it before on my knee, and it did indeed turn my knee out some. But I've been reading more and decided to order real kinesio tape, along with leukotape, which is mentioned often. I got four boxes of KT on eBay, precut at 2" x 10", with 20 per box. It was $25 and seemed like the best deal; most of what I want to try (so far) involves strips about that long. The LT was $10, and I didn't get nearly as much, but I can always get more.

I totally don't recommend doing this, but I'm taking the DIY approach here. No, I have no training in what I'm going to do, but it honestly doesn't look that difficult. The hardest part seems to be how much to stretch the tape, so I'll take it easy and hardly stretch it at all. As for where it goes, I've found two sources that pretty much tell me what I need to know.

This (pdf) discusses a study that was done on taping to fix anterior pelvic tilt (with positive results). The actual instructions for taping are on page 8, and while I haven't had to use terms like "medially" and "obliquely" in quite some time, I think I can figure it out. There is also a handy photo showing what it looks like on page 20.

As for the tibial torsion, I will use the video I used before along with this (pdf). The tibial torsion taping is explained starting on page 52. (This video shows how to make a "tab".) There are also a lot of different techniques given for different issues, but I'm only focused on these two.

So I think I have enough info to work with, although I will continue researching. (Note that the links I have posted are not the sum total of all I've read by any means.) I'm excited for my tape to come in, and- of course- will post updates on all of this once I have everything and get going!

Lifting Hips in Développé?

I've been struggling with not lifting my hips when doing développés. It seems like it CAN possibly be done, because it seems I am able to do it while on the floor, without gravity to bring me down. This article is interesting because it says that the hips are supposed to be lifted using the iliopsaos, not the quads. (It also has videos to go along with all of the seven exercises for leg extensions.)

I tried the "Thigh lift" last night and my iliopsaos was very elusive.

Then I came across this link while researching how to get my leg up higher. It's a video, inviting comments, of a ballet class DVD preview taught by Dmitri Roudnev (he's the one posting). He states it might be controversial, so of course I have to watch it:

The comments to his post bring up the fact that he teaches his students to lift the hips when performing extensions, instead of telling them to keep their hips straight like I've been hearing and reading. The first comment I see sums up the argument against what he is doing:

I just cannot fathom how it is beneficial; surely by teaching it in this way (referring to the developpe at 90) you are teaching the movement pattern of lifting the hip of the gesture/working leg to initiate the extension rather than developing strength and control in the legs, postural muscles and rotators etc?

 Here's Dmitri's explanation:

I believe the alignment should be the first priority in ballet training. Turn out is second priority. 

I believe for progressive training that 180 turn-out in all five positions are a must ( my school, the Bolshoi, believes the same, as well as many professionally oriented schools in the world ) At the same time, in order to keep the alignment correct, I believe the turn-out of the working leg should not be forced. 

The student in the video is a beginner ( 2 classes per week ). The video shows how much this beginner student is able to rotate the leg in a la second. It is a temporary look and it will change and improve as soon as she gets stronger.

So basically, he's saying it's okay to lift the hip as a beginner, that the beginner needs to develop the strength first, before working on keeping the hips lower and more turned out. To me, this makes sense (not just because I want it to!). For instance, I am working on my turnout, still. But just because I don't have perfect turnout doesn't mean I can't practice ballet. I work with the turnout I have, and also work on strengthening my hip rotators so I can increase my turnout. Likewise, he is saying nothing should be forced; build strength first and then the improvements in turnout, extension, will necessarily be improved so long as one is working on strengthening those areas.

I also came across this link, basically sayings screw all that, lift your hips for extension! And it posts quite a few photos of professional ballerinas doing leg extensions with their hips lifted. Such as these two:

Sylvie Guillem, former top-ranking dancer with Paris Opera Ballet, principal guest artist with the Royal Ballet in London

Students at Jacqueline Kennedy Onassis school, ABT's pre-professional division

 I just found a bunch more here:

So, I'm going to stop stressing so much over my lifted hips when I'm doing leg extensions. Honestly, they're hard enough as it is without my beating myself up over it. (They're one of those things that if I were to get focused on, I'd slide down into not wanting to continue ballet.) So, yes, I recognize that my ilipsaos needs to be a helluva lot stronger. I can't even isolate it at the moment. And I do think continuing to do floor barre may help me learn to isolate the right muscles. But when it comes to following along with the videos I watch, eh, I'm just going to do the best I can and that's going to have to be that. I can't control it right now, so, like I said, I'm not going to beat myself up over it.

I do find it interesting all the different ways I'm learning that ballet instructors can teach things. I didn't understand how there could be all sorts of different techniques when I started. I'm starting to get it now though ;)

Later today, I am off to the mountains with my dog, my friend, and his two dogs! I'm bringing all my ballet gear (well, I can't take my barre unfortunately!) and plan to hike, relax, read, and of course, do ballet. That's my next four days summed up (I hope!)

Intrinsic Foot Muscles

A great video for improving the point of the feet (via the intrinsic foot muscles):

(At first, I was like, "ah, I got this". Then it came to doing more intricate things with my left foot and... nope. I don't "got" it. I've been working on it about two days, though, and can somewhat squish my left toes together, which I couldn't do at all when I first tried. But really, from my understanding, being able to even come close to balancing on pointe, and to just have a nicely pointed foot at all, takes ability of detailed movement along with strength of those inner foot muscles, some of which some of us had never felt work before!)

And I get my Perfect Pointe book this weekend, yay!

Foot Arch/Doming Improvement

In less than a month's time, I've made a noticeable improvement in my foot's arch strength, and thus the pointing of my feet. Here is a side-by-side comparison:

Side-by-side comparison of doming of my right foot.

(I don't think the fact that I was in a different position matters much?) On the right, I was definitely forcing my foot to dome- you can see a lot of tension in my foot, trying to hold the height of the arch. The lower arrow points to where my big toe was curling more to make it look better, and you can see the tension in my big toe as well.

In the left picture, taken only 27 days later, I can really tell a pretty big improvement (especially since I could not even access those muscles willingly when I first started ballet about 2 months ago!). First of all, the arch! It's higher, yes, but it's also turning into something of a slight angle at the arch, a little more of a triangle at the highest point of the arch instead of a half-sphere. I think that's really cool.

There's also SO much less tension in my foot, even though I was definitely pushing the muscles hard. The big toe isn't wrinkled up like the right photo- it's learning to elongate to point instead of curling. (That second toe is getting better at not curling as well- that toe's more difficult!)

At the top arrow on the right, the point(e?) of my foot looks less smooth. Again, on the left, it's elongating into a more aesthetic (and stronger!) point(e?)! (Did I mention I try to do doming exercises as much as I can at work? I've been really busy this week- it does take a little focus- but I was able to get back to it some today!)

Conditioning for Dance

Yay! Today's mail brought "Basic Ballet Movement Skills" with Finis Jhung and "Conditioning for Dance: Training for Peak Performance in All Dance Forms" by Eric Franklin.

I'm actually going out tonight and I need to get some ballet in, otherwise I would spend the whole evening reading through that book. It looks awesome. I think it's precisely what I need. The drawings in it are just fantastic, and even a single exercise I did that took about three seconds shows that he's got some great (and new to me) material in there.

I don't think it would be a spoiler to tell you the exercise, in my own words: 1) Stand on both feet and jump in the air. Yes, just jump. 2) Stand on both feet, clench your teeth together and jump. That's it, but can you see the difference it makes on your jump when you clench your teeth? If your jaw can affect a movement that seemingly comes from the waist and below, what other tension is in the body that can be affecting movements in ways you'd never dreamed of?

I can't wait to start working on it! It looks like I am going to need to get some longer Therabands, though. Most of the exercises seem to use the really long ones, like more than twice the body's height. Definitely on my list now.

I'll check out the new Jhung DVD tomorrow- time for barre!

"Floor Barre", Leg Extensions & Hips

I read a great article awhile back (I may have linked to it before, pdf), entitled "Functional Anatomy in Dance Training: An Efficient Warm Up Emphasizing the Role of the Psoas". In it is this picture, which has stuck in my mind since reading it:

Développé à la seconde. Incorrect placement of hip in left photo. Hip is raised. Corrected in the middle photo. Incorrect use of glutes in the third.

I've been working on this while doing ballet lately. I was pretty much convinced that a) my hips and legs just don't work like that or b) the only way I would ever be able to understand how to get my hips and legs like that would be one-on-one instruction from a professional.

Then I read a post (on one of the ballet forums) about floor barre. Apparently, the term "Floor Barre" is a registered trademarked technique that you may be able to find classes for, though they don't seem to be common in smaller cities. But- you should know me by now!- I'm not going to worry about flying or driving to some other city to learn Floor Barre. I'm going to teach myself! (So we'll say I'm just borrowing the term, uncapitalized,  to describe what I am doing, and it should not be taken to mean that I have ever had any class on the trademarked technique of "Floor Barre".)

A couple of nights ago, I decided to give my own version of floor barre a shot. I wanted to work on those things in the photo above. And what do you know? When I lie on my back I am able to bring my leg forwards and sideways without moving my hips! (It's so much easier to work on when all that pesky gravity isn't making extensions so difficult to do!) So now I know that my hips will allow my legs to raise properly; it can be done. My goal is to work on this while on the floor and hopefully gain muscle memory so I can perform the actions correctly while standing. I'm not quite sure what I'm doing differently, but with practice, I hope to understand (and be able to DO!).

My DIY Rotation Disks

So I ordered some items from eBay to make rotation disks for hip rotation. Unfortunately, the wooden circles I got are less sturdy than some cardboard I have, so I am going to have to rig them differently than I'd planned (and it's going to look way less pretty, but will still accomplish the same thing). I haven't screwed anything in place since I haven't quite decided how I want to do it, but I put it all together anyway and was able to work on hip rotation (doing it very carefully since nothing was properly mounted). And: wow! It was extremely helpful!

First of all, the good news: my right hip can rotate past 90 degrees! If I can get my left leg up to par, I will have amazing turnout. It takes quite the effort to turnout my right leg that far, but it will definitely go.

The bad news (which isn't so bad since it's far better to at least know this now): my poor left leg has been turning out FAR too much with my left knee. I kept trying, and the harder I pressed out, the worse my knee felt. It took quite a few tries, but eventually I was able to access those deep rotator muscles. I had to switch to my right leg a few times to sort of show my left leg how to get to those muscles. (I've been using them a little, but not enough at all.) Once I started getting them, it was really neat. I was able to feel all of these little muscles deep inside my leg that I've never really felt before. There was one small muscle in there that I was pretty much able to access just by itself. When I found it, the use of it was so small my leg was hardly moving at all, but that muscle was certainly getting a workout!

I also noticed how much I've been using my glutes. Well, it's not a ton but it's more than I should be using. On my right leg, I noticed there was some work from my calf muscle involved with my hip rotation. The calf muscle wasn't actually working, but it felt more like it moved a bit when I rotated externally. (Too bad ballet doesn't work with internal rotation or I'd be a master!)

One other thing that was interesting was that when I was rotating from my hip on my left leg, what could only be my iliacus (or maybe my psoas) was feeling a tug... on my right side. I understand the connection between the two slightly, but otherwise find it kinda odd, something going on that I don't quite grasp.

Anyway, I woke up this morning with definite achiness (the good kind) in both hip rotator areas (especially on my left side). Unfortunately, my poor left knee hurts from straining so much trying to get it right. I'm going to be extra careful with it, but it's so great to know now what I've been doing wrong, and how I can fix it!

I'll post some photos once I get my rotation disks put together. I may just sell them for really cheap- they're so expensive to get prebuilt! Mine may not look so great (and I won't be able to use on non-hard surfaces like carpet), but they're certainly going to get the job done. It would be nice to be able to help other ballet students who don't want to shell out $100 on a set... but I just don't know what they are actually going to look like right now (would it be embarrassing to sell such an ugly product, even if it works??) :)

Tonight II

This evening's ballet went so much better than it has for a few days (which seems like weeks)! I was just totally into it. I could tell I'm making definite improvements: in posture, flexibility, and technique. When you're going every day it's a bit harder to tell the differences, but I feel like I kinda bummed out the last 3, maybe 4, days and just hadn't been into it.

I started with the usual Lisa Maree warm up. As I mentioned, I learned the basics of doing glissades. (I did a few more after that post, and those went well.) Then I did Tamra Chace's Lesson 4 Barre and half of the center. (I did quite a few exercises multiple times.) With both of them, especially the latter, I was doing so much better with balancing while shifting my weight. That's really tough, and I've definitely been struggling with it. But tonight I was even able to do rond de jambes almost without losing my balance.

I just felt the placement of my body better. When I was on one leg, I was able to center myself better. I was frequently able to remind myself of the little details besides just doing the exercises, especially regarding my posture. And yet, I was also able to let go of the posture issue a little. I think that's one of the things that's been bumming me out- all the things I see wrong with my body. But tonight it was more of "yes, pull up in the spine, working on pulling the bottom of the ribs back, but just notice it, shift if needed, and let go." When I'm not so focused on everything that's wrong with me, I can actually notice the things that are right! I even felt "ballerina-like", especially doing derriere developpes en releve! I think that was the highlight.

This video caught my attention while I was browsing through videos: How to Do Développé à la Seconde. I briefly looked at their website and they seem to have quite a few videos like this that are ballet-oriented. The preview looks pretty good. I like seeing the muscles that are working, where they are and what they are doing. When I am able to visualize something in my head, I'm better able to do it when it makes sense what I'm doing.

Anyway, I worked a lot longer than I expected and it's almost my bedtime! So I'm going to cut this short. But I do want to say I am SO glad I had a good session tonight! It's very inspiring; I was getting worried I was just going to give up. But the obsession remains strong!

Tonight

My turnout seems to be better with the tape on my knee. I don't think I'm imagining it- when I turnout, my left knee is more over the toes than in front of it, and that wasn't the case before. My turnout in retiré is maybe a little better on the left- I still have a ways to go. But I'm definitely able to feel the rotation of my knee just from the tape, and I'm also able to use my muscles in that leg to rotate my knee further into a "straight" position. (It's not taped to the max it could be.)

The tape did get a little bothersome today- I had to pull it up a bit in some spots where the skin was just pulling too much. I took an NSAID to reduce any possible swelling. I was a little more careful on that leg today, especially up and down steps. I didn't want to use it fully in this new position. I am going to take a break either tonight or tomorrow night, and possibly put ice on it because I am worried about swelling. (I can't really tell if it's actually swelling or if I'm just imagining it because I know something's different.) There's a little aching on the knee, but it's not pain. I'm paying really close attention to it.

I was teaching myself glissades and getting the hang of it. A bit too much jumping for my knee tonight, though. Another time. I just wanted to try something new.

Tibial torsion's effect on ballet

So I finally got around to taking some decent photos last night. AND I taped my knees. First, here is a side-by-side photo. (My left leg is on the right.) On the left is how my legs, especially knees, look when my feet are parallel and touching. (My right knee has some tibial torsion as well, but it's not as bad as my left and it doesn't affect my ballet attempts too much.) On the right photo you can see that I can laterally move my knees out using only the muscles of my legs, which rotates the kneecap and tibia.

Tibial torsion is exaggerated on my left knee (left leg is on the right side). Leg muscles can pull the kneecap and tibia into a more straightened position. Note the location of the "V" shaped shadow on my left knee in each photo.

Here are my legs when I have them lying flat on the ground. On the left my feet are kept touching in parallel. On the right, my kneecaps are pointed  straight up. Both feet lean outwards, but my left foot's rotation is far more pronounced.

On the right photo, my ankles are held parallel. Kneecap on my left leg is exaggeratedly pointed inwards. On the left photo my kneecaps are held straight up. Both ankles point outwards, but it's definitely more noticeable on the left.

I want to show you now exactly why this sucks so bad for me in regards to ballet, and why I've been obsessing over it so much. Here is what my legs look like in retiré. On the left photo my left leg is the standing leg and my right leg is in retiré. On the right, I've horizontally flipped the photo so you can compare them side by side. (In the right photo, it's my left leg in retiré.)

Legs held in retiré. (Left photo is right leg in retiré. Right photo is left leg held in retiré.) Notice the difference in line and aplomb.

See how much forward my left knee is? That is not pretty in terms of ballet. This is also how my legs look when I plié: my right knee is aligned quite well over my right foot, but my left knee is very forward of my left foot (in spite of the fact that both legs have similar turnout). (Actually, my left leg LOOKS like it has even better turnout than my right because of the extra rotation in the ankle- but the location of the knee, especially in plié, tells a different story.)

Now that I look at these photos for the first time, it also looks like I am holding my body quite differently in each photo. I had something I was holding onto for balance, and it was definitely harder to lift my left leg up, but it seems my standing right leg is pushed more forward and I am leaning more forward. This may just be because I had a ten second timer to get myself into position, and it was more difficult to do with the left leg going up, but definitely something I'm going to pay more attention to now. (My knee is also blocking my backside more in the left photo, so it could just be that.)

Anyway, I got to taping last night and took photos of that as well, but I'll get to that post later. (I will say that right now, my left knee looks more like my right knee, for what that's worth!)