Ballet Class Etiquette

Ballet class etiquette is usually communicated clearly, and most dancers who begin as young children are taught the appropriate way to behave while in the classroom. Not only are rules—or etiquette—for class a sign of respect towards the teacher and the other students, they are necessary in order to progress through all the combinations that make up a full class. There is simply not time for a teacher to be reprimanding students or calling them back to attention every few minutes. However, you may begin taking lessons at a new studio or academy where the etiquette may differ from your former school, and it might be up to you to find out what the standard expectations are for students.

Dress Code

Many schools have a dress code. Quite a few require pink tights. This sounds easy enough, but there can be many variations: students are clever at turning a rule on its head by changing it enough to say they are following the rules, when actually they are not. You need to know if pink tights means footed, or if transitional tights, stirrup tights, or footless tights are acceptable. Sometimes a student will have on transitional tights—which, when worn over the toes are considered footed—and have them rolled up to mid-calf. When it comes to class, pink can probably encompass ballet pink, classical pink, light pink, or European pink. (Or, as it was in my case as a kid, white tights dyed into a pink that came from red food coloring!) For performances, most teachers will be painfully specific about what color pink they want and if they want the tights to be mesh, seamed, or seamless; supplex, cotton, nylon, or a combination of fabrics; Capezio, Bloch, or Danskin. To make it a lot easier, some teachers will tell you a style number to be sure you get exactly the right thing. The Danskin mesh seamed tight in style 32 is very popular, for example.

Along with tights, some schools will require that you wear a specific color leotard or a specific style: camisole, tank, short sleeve, or long sleeve. A lot of schools will not be too picky about style as long as you wear the correct color, or a solid color. Make sure you are wearing shoes that are acceptable as well. Usually this is left to the discretion of the dancer, but some teachers don’t particularly care for canvas over leather, for instance. Some want you to have a full sole rather than a split sole. Just be certain you know if there’s a preference, and make sure your shoes have the elastics sewn securely. Elastics that are tied behind the ankle or kept on with paper clips or safety pins are irritating to most teachers. You’ve been warned.

Hair and Jewelry

Hair and jewelry are biggies in ballet class. To be safe, I would say to put your hair in a bun with a hair net and plenty of hair pins and hairspray, and don’t wear any jewelry at all. Here again, there will be variations of what is acceptable at your particular school. You may be allowed to wear your hair clipped with a great big barrette so it doesn’t flop at all when turning, and it might be fine to wear earrings as long as they don’t dangle. Sometimes earrings that slip through without a catch at the back can fly out during grand allegro or turns across the floor, so use good judgment here. Click here to see a great video by dancers at the Anaheim Ballet on how to make hair buns. And a fun place to find ballet needs is at bunheads.com.

Behavior

Finally, we come to the behavior that is expected in class.

  1. No talking unless you have a question for the teacher (and questions are normally very welcome, especially in beginning to intermediate levels). This includes any kind of communication with others in class, so no miming or eye-rolling either!
  2. Do not chew gum, eat, or drink during class.Sometimes you may be permitted to get a drink between barre and center, but it’s typically best not to leave the room to do so.
  3. Do not arrive late. If you arrive during the plié combination you can usually catch up. Otherwise you need to check with the teacher to see if it’s okay for you to join or if they prefer that you just observe class.
  4. Do not yawn.
  5. Do not get impatient with yourself—this can be misinterpreted by the teacher who thinks you don’t care for their class or combination.
  6. If you have an injury prior to class, let the teacher know that you may not do everything full out.
  7. If you get injured during class or pull a muscle, let the teacher know. Get ice, if possible, and watch the rest of class from the sidelines.
  8. Do not always stand in front. Take turns.
  9. Do not always go first across the floor unless the teacher asks you to.
  10. Do your best and have a positive attitude.

Other things to note

I encourage readers to add to the list if you can think of others I omitted. Of course, cells phones and ipods are also not good to bring into class. A few pet peeves of mine when I was teaching included students who had to go to the bathroom (although there might be exceptions, just don’t do this every single class), students who wanted to teach the class or recommend steps, and students who wore sweats over their tights once class began. Again, if you have an injury and you need to wear extra clothing for warmth, get permission from the teacher prior to class.

The nicest thing about class is the end. I always thought it very appropriate when I was dancing that we would let the teacher know we appreciated class by applauding at the end. Some teachers will tell young dancers that they should “give themselves a hand” so they get into the habit of clapping after class, but I believe that this part of ballet etiquette is more a show of respect for the authority and guidance of the teacher.

Book Review and Giveaway: GIRL THROUGH GLASS by Sari Wilson

I was given an advance copy of GIRL THROUGH GLASS in December and finally picked it up yesterday, planning to give it a small measure of my attention for a couple weeks until I could finish it. To my surprise and delight, it captured my full attention and I consumed the whole book within 24 hours. It’s hard to believe this is Sari Wilson’s first novel—it is written with a wonderful literary style. She is able to put words to feelings in a way not many authors can.

Maybe it’s because I could relate to the story as a dancer, but I think it’s much more than that. I believe she’s an author I’ll keep an eye on, and whose work I’ll devour just as easily no matter the subject. Sari’s writing is a thing of beauty; her expressions are refreshing and original, such as when she describes Mira having her hair done by a woman who holds the bobby pins in her teeth. “The lady pulled and tugged and clutched at Mira. The bobby pins the lady gripped in her teeth moved up and down like insect antennae trying to communicate something dire.”

The flow of the book worked its magic as well, weaving the life of a young girl growing into a woman between scenes of the grown woman’s present day life until the two come together and the story is complete. Sari Wilson has created suspense that I wasn’t even aware was building until the truth of what happened to this girl became crystal clear. It caught me completely by surprise, in a very good way.

GIRL THROUGH GLASS by Sari Wilson is well done. She exposes the stark realities of the ballet world with an authenticity that will make real ballerinas nod in agreement, and delivers it in a beautifully written story about characters I came to love.

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Degagé

This degagé combination for the barre is nicely accompanied by Gill Civil’s music. I particularly like how it goes with number 10 for petits battements. The track is called All Aboard. This combination could also be done first with tendus at a slower tempo. I like track number 3 called Tightrope Walker for a slower tempo.

When using as a tendu combination, you could change the piqué to this: from point tendu front at count 2, lower ball of foot to work through the metatarsal and quickly lift to point tendu again (&3), brush through 1st to point tendu back on count 4.

5th position

1        Plié in 5th, arm to 5th en avant
2        Degagé front and straighten legs, open arm 2nd
3        Piqué front
4        Brush thru 1st to degagé back
5-8    4 Degagé back closing 5th, arm to arabesque
1-8     Repeat with inside leg
1-8     Repeat side, finishing with foot in 5th back
1-7     En cloche degagé bfbfbfb
8         Close 5th back
1-32  Repeat all from back

Pirouette waltz

Suggested musical accompaniment by Massimiliano Greco here.

You can also like him on Facebook here.

Pirouettes
R foot front 5th upstage L

1-2   Piqué to 1st arabesque, faille across
3       Piqué to 1st arabesque
4       Faille and temps levé on L with R cou de pied back
5       Balancé R traveling en arrière
6       Balancé L traveling en arrière
7-8   Tombé pas de bourrée to 4th preparation L front
1-2   Pirouette en dehors to 4th position
3       Detourné to point tendu R croisé devant
4       Close 5th position plié R front
5-6   Tendu R croisé devant place 4th lunge R croisé devant
7-8   Pirouette en dedans to 5th position croisé L foot front
1-16 Repeat other side

 

Awareness and Poise

Artists must be familiar with the mediums they use to do their work. Musicians playing wind instruments learn which keys to press to create a C and what they must do with their breath to produce variations in sounds. Painters usually work in many mediums and choose suitable ones for the piece, such as oil or acrylics or watercolors, pencil or charcoal, or use them in combinations. This is true for dancers as well. Dancers learn not only about anatomy, which is important if they are to understand proper alignment, but also about cause and effect. As they reach the age where they’re dancing en point or rehearsing choreography, dancers will quickly discover what will happen if they don’t take care of themselves.

  • If I don’t build up calluses on my toes then they will rub raw and bleed.
  • When I haven’t eaten all day I usually don’t have much strength or energy to jump in class.
  • Forcing turnout weakens my knees and ankles.
  • Rehearsing without properly warming up the muscles can lead to soreness and possible injury.
  • I have a hard time remembering the steps when I stay up too late the night before.

The list goes on and on of course, but this cause and effect gives us greater awareness about our own bodies and minds. I believe that knowing our limits (and that we do have them), being sensible about warming up, and eating a healthy diet among other things teaches us that this one body—the only one we will ever have—must be cared for if we want it to last.

Another thing dance gave me that has been applicable in other parts of my life is poise. Poise, to me, is much more than carrying oneself with assurance and grace. For me, it’s what happens before that outward manifestation. It involves calming the mind, putting away the worries of what could go wrong and bringing forth the positive thoughts about how you want to appear onstage. Once you quiet the mind and trust your body to remember the choreography, you step onstage and put faith in yourself. And believe it or not, you maintain faith in yourself until you’ve completed what you went out there to do. If you make a mistake, you must learn to train the mind to immediately forgive and forget, so as not to make a complete mess of what follows. Completing the dance to the end and not giving up somewhere in the middle is a good metaphor for whatever we undertake in our lives.

Learning the power of the mind, trusting in yourself, caring for and nourishing your body, and understanding that as humans we have physical limits and aren’t invincible—all of these are essential elements on the path to success and happiness, no matter what career you ultimately choose or what direction life takes you. And when life takes you down a path you weren’t expecting, these attributes will prove invaluable in dealing with whatever comes your way.