I obviously love this show, so here's one of the pieces from SoulEscape. There are so many interesting components here. Watch this at least twice. You can look at it with different eyes each time.
Monday, October 29, 2007
Control, Flow, Feeling It
I wanted to share this video I came across tonight. Ashley Galvan from Dancer's Edge really becomes part of the music in this solo- her control and feel for the sounds really make this a beautiful piece.
For you soloists getting ready for the show, here's some danspiration.
For you soloists getting ready for the show, here's some danspiration.
Tuesday, October 16, 2007
If You're Interested...
You can read my social media blog at http://socialhoneycomb.com.
Keep practicing and I'll see you Sunday!
Keep practicing and I'll see you Sunday!
Saturday, October 6, 2007
Friday, October 5, 2007
Sunday, September 30, 2007
Tribal Inspiration
This routine is sick. The energy is so cutting- I love it. I'm not sure who the studio is, but great job to this group. Check it out.
Memories from 2005
Ladies, I'm sitting here watching the 2005 recital DVD and I'm swimming in a flood of memories. You've all grown up so much since then- I can't believe it.
All my love.
All my love.
Another "God Dance"
Saturday, September 22, 2007
Just So You Know...
Monday, September 17, 2007
Where Have I Been?
Girls, my life has been crazy for the past few weeks, but I'm going to do my best to keep this updated for you.
Between jobs and school and editing and setting up my new apartment, everything has been out of control.
I have a big test on SUNDAY, SEPTEMBER 23 in the afternoon. I'll let you know what time it is... If you need to call me, please do.
I miss you guys and hope to see you very soon. I'll be posting some more danspiration soon. <3
Between jobs and school and editing and setting up my new apartment, everything has been out of control.
I have a big test on SUNDAY, SEPTEMBER 23 in the afternoon. I'll let you know what time it is... If you need to call me, please do.
I miss you guys and hope to see you very soon. I'll be posting some more danspiration soon. <3
Wednesday, August 29, 2007
While You're on the Couch
Please check this out. I love the energy, the movement, the timing, the passion. They throw themselves into this and it's just insane. Thoughts?
Breathing Room from Applause Studios (one of my all-time favorites) choreographed by Emily C. Shock.
Breathing Room from Applause Studios (one of my all-time favorites) choreographed by Emily C. Shock.
Monday, August 27, 2007
Ballet Inspiration
Sarah Michelle Murawski. She's 15 and was one of the finalists for the 2007 search for the next Dance Spirit cover model. In the beginning, just watch her hold that leg. Holy amazing.
Flexy Bendy Extendy
I'm on the hunt for links about improving flexibility. Take some time to read through the information and incorporate it into your own routine. Here's what I've found so far:
Flexibility.pdf
Conditioning for Dance book
AllExperts.com Extensions
Dancer Handbook
From The Body Series - Dancing Smart Newsletter:
Many teachers, me included, realize that a student’s performance can be enhanced with non dance training. What we sometimes lose site of is that overtraining a dancing body can happen more quickly than we give it credit for. We see the goal that our student has, or that we have for a class and focus on a plan to achieve that goal, sometimes without seeing the bigger picture.
As an example, Suzy has great turnout, works hard, stands up straight, and is in the middle of her growing years. On a good day her extension is 90 degrees. We want to improve her extension. The first thing that comes to mind is "Suzy needs to stretch." We put Suzy’s leg on the barre and we stretch her to the front, we face the barre and stretch her side, we turn her to arabesque and stretch her there. Suzy slides into splits on the barre and we fee like we’ve really stretched her. However, her extension isn’t improving.
When we look at a problem like the above and come up with a single "plan of attack" we aren’t really addressing the problem, we are fixing the symptoms. Cross Training should be about finding, addressing, and alleviating the problems, or better yet training a body that doesn’t develop those problems to begin with. A dance class is not designed to provide a well rounded conditioning program; it is a specific activity with very specialized needs. Dance conditioning classes often focus on the actions that are already performed during a dance class with the premise that repeating the action more often is better. Sometimes more is just more.
How can a dancer effectively cross train? One way is by varying the dance styles studied on a regular basis. Ballet dancers who regularly take modern dance will find they strengthen a different set of muscles than ballet dancers who only take ballet. Jazz, Hip Hop, Tap, and Ballroom dance all rely on different muscles and movement patterns. To be effective as a cross training program participation in the other styles needs to be consistent. Taking one modern class a month will not do a whole lot to counter the effects of 4 hours of ballet a day.
Add a complimentary but non dance movement class into your schedule. Options include Pilates, Gyrokinesis, Yoga, Nia and Feldenkrais. The trick is to know which muscles you are using in dance, which way you are using them, and how to balance out the rest of the body. The following guidelines can be applied to any training program. They are not designed to take into account any special considerations, such as injuries.
Allow your muscles to do the jobs they are meant to. Try to avoid "getting through a movement" when you know you are using a body part that isn’t supposed to be involved. This will require that you learn which body parts should be executing the movement.
Train stability and balance as often as you train flexibility. Dancers like to stretch, there isn’t anything wrong with that unless we do it to the exclusion of other things. Flexibility is only as useful as the joint that is being moved. If the stability is not present the flexibility will cause more problems (and possibly injuries) than it will help.
Body alignment is the most crucial aspect of training. In order for muscles to do their jobs properly and move the joints where you want them to go everything needs to be in the right place. When one piece of the puzzle is missing things don’t fit together and work the way they should.
Get out of your box. Having a routine and following it day in and day out does a very limited amount of good to your body. Change it up, be creative, think of your training as an exercise in choreography: How many ways can I move X?
Work your joints in all the directions they don’t get worked in dance. Ballerinas this means you work parallel and maybe even a little turned in.
Work on all different levels. Try to use muscles while on the floor, sitting, standing, and kneeling. Remember to move front, back, and side too.
Use props such as Therabands, towels, various size balls, a partner, etc. Challenge your balance by working on a non stable surface. Work the dynamics of a movement backwards, if you usually work slow make one half of the movement fast but controlled, and then take twice as long for the next part.
Learn new material. Take a class in another movement form to introduce new ways of working to your body. Remember you are looking to compliment your dance training — not duplicate it.
Have a clear goal that you are working towards, but don’t take the straightest path. The more journeys you allow your body to take to reach your goal, the better you will be.
Know when to stop. A very important part of training is resting.
Now back to Suzy. Make sure she knows which muscles are supposed to be doing which actions as she executes her extension. Teach her to release those muscles as well as engage them. Very often the problem is gripping and not tightness. Make sure the rest of her body is supported by the deeper core muscles instead of the superficial muscles. Stretch her in a parallel or even medially rotated (turned in) to allow her turnout muscles a chance to relax and release. Remember she is still growing and her bones will grow before her muscles stretch to catch up. Keep all stretching so that is felt in the belly of the muscle and not in the joint where the ligaments could be getting involved. Make sure the attention paid to her extension is in proportion to all her other skills. This is both for physical balance and emotional health. Constantly singling out the same issue changes it from a challenge for the student to a problem.
Flexibility.pdf
Conditioning for Dance book
AllExperts.com Extensions
Dancer Handbook
From The Body Series - Dancing Smart Newsletter:
Many teachers, me included, realize that a student’s performance can be enhanced with non dance training. What we sometimes lose site of is that overtraining a dancing body can happen more quickly than we give it credit for. We see the goal that our student has, or that we have for a class and focus on a plan to achieve that goal, sometimes without seeing the bigger picture.
As an example, Suzy has great turnout, works hard, stands up straight, and is in the middle of her growing years. On a good day her extension is 90 degrees. We want to improve her extension. The first thing that comes to mind is "Suzy needs to stretch." We put Suzy’s leg on the barre and we stretch her to the front, we face the barre and stretch her side, we turn her to arabesque and stretch her there. Suzy slides into splits on the barre and we fee like we’ve really stretched her. However, her extension isn’t improving.
When we look at a problem like the above and come up with a single "plan of attack" we aren’t really addressing the problem, we are fixing the symptoms. Cross Training should be about finding, addressing, and alleviating the problems, or better yet training a body that doesn’t develop those problems to begin with. A dance class is not designed to provide a well rounded conditioning program; it is a specific activity with very specialized needs. Dance conditioning classes often focus on the actions that are already performed during a dance class with the premise that repeating the action more often is better. Sometimes more is just more.
How can a dancer effectively cross train? One way is by varying the dance styles studied on a regular basis. Ballet dancers who regularly take modern dance will find they strengthen a different set of muscles than ballet dancers who only take ballet. Jazz, Hip Hop, Tap, and Ballroom dance all rely on different muscles and movement patterns. To be effective as a cross training program participation in the other styles needs to be consistent. Taking one modern class a month will not do a whole lot to counter the effects of 4 hours of ballet a day.
Add a complimentary but non dance movement class into your schedule. Options include Pilates, Gyrokinesis, Yoga, Nia and Feldenkrais. The trick is to know which muscles you are using in dance, which way you are using them, and how to balance out the rest of the body. The following guidelines can be applied to any training program. They are not designed to take into account any special considerations, such as injuries.
Allow your muscles to do the jobs they are meant to. Try to avoid "getting through a movement" when you know you are using a body part that isn’t supposed to be involved. This will require that you learn which body parts should be executing the movement.
Train stability and balance as often as you train flexibility. Dancers like to stretch, there isn’t anything wrong with that unless we do it to the exclusion of other things. Flexibility is only as useful as the joint that is being moved. If the stability is not present the flexibility will cause more problems (and possibly injuries) than it will help.
Body alignment is the most crucial aspect of training. In order for muscles to do their jobs properly and move the joints where you want them to go everything needs to be in the right place. When one piece of the puzzle is missing things don’t fit together and work the way they should.
Get out of your box. Having a routine and following it day in and day out does a very limited amount of good to your body. Change it up, be creative, think of your training as an exercise in choreography: How many ways can I move X?
Work your joints in all the directions they don’t get worked in dance. Ballerinas this means you work parallel and maybe even a little turned in.
Work on all different levels. Try to use muscles while on the floor, sitting, standing, and kneeling. Remember to move front, back, and side too.
Use props such as Therabands, towels, various size balls, a partner, etc. Challenge your balance by working on a non stable surface. Work the dynamics of a movement backwards, if you usually work slow make one half of the movement fast but controlled, and then take twice as long for the next part.
Learn new material. Take a class in another movement form to introduce new ways of working to your body. Remember you are looking to compliment your dance training — not duplicate it.
Have a clear goal that you are working towards, but don’t take the straightest path. The more journeys you allow your body to take to reach your goal, the better you will be.
Know when to stop. A very important part of training is resting.
Now back to Suzy. Make sure she knows which muscles are supposed to be doing which actions as she executes her extension. Teach her to release those muscles as well as engage them. Very often the problem is gripping and not tightness. Make sure the rest of her body is supported by the deeper core muscles instead of the superficial muscles. Stretch her in a parallel or even medially rotated (turned in) to allow her turnout muscles a chance to relax and release. Remember she is still growing and her bones will grow before her muscles stretch to catch up. Keep all stretching so that is felt in the belly of the muscle and not in the joint where the ligaments could be getting involved. Make sure the attention paid to her extension is in proportion to all her other skills. This is both for physical balance and emotional health. Constantly singling out the same issue changes it from a challenge for the student to a problem.
Thursday, August 23, 2007
Practice: Flexibility, Extension
Um... This girl is 10. There really isn't much I can do to explain this- She's from the Deltona Academy of Dance and the routine is called New Day. Her extension is something to strive for, ladies. STRETCH STRETCH STRETCH. BALANCE BALANCE BALANCE. HOLD HOLD HOLD.
Hot Hip Hop Routine - The Company
This is one of the best group hip hop routines I've ever seen. Talk about timing and precision and hitting it.
Flow, girls. Flow.
Flow, girls. Flow.
Wednesday, August 22, 2007
Tuesday, August 21, 2007
Beautiful Performance
This Justin Giles routine is a really beautiful group piece. Every dancer is like a puzzle piece, and they all fit.
Pirouettes and Other Things That Suck
This girl posted a video of herself turning and asked for feedback. I think a lot of the comments are helpful, so watch her and then read what people had to say. Try incorporating some of these lessons into your own turning:
-Don't twist your upper body before you begin the turn
-Tighten your core
-Keep your bottom leg straight, as if it's drilling into the ground
-Plie a lot so you can spring up into the turn
-Spot hard and precisely
Pirouettes and Other Things That Suck
-Don't twist your upper body before you begin the turn
-Tighten your core
-Keep your bottom leg straight, as if it's drilling into the ground
-Plie a lot so you can spring up into the turn
-Spot hard and precisely
Pirouettes and Other Things That Suck
Last Creatures Rehearsal
Tomorrow, Wednesday 8/22, is our last Creatures rehearsal for the summer. Please wear black or tan tights and a black leotard. You may wear tight black shorts or dance pants if you would like.
I'm going to take some photos, so do your hair and makeup accordingly.
See you soon, girls!
I'm going to take some photos, so do your hair and makeup accordingly.
See you soon, girls!
Sunday, August 19, 2007
Practice: Precision - Little Bird
Most of you have seen this one, but I love this group dance from DC Dance called Little Bird. Everything is right on point, not to mention their great technique. Timing and rhythm are extremely important in performance.
Watch these girls rock it.
Watch these girls rock it.
Saturday, August 18, 2007
Creatures Costumes!!!
Girls- I need to know everyone's preferred costume size for the costume for Creatures. I've spoken to most of you, but I still need a final word from some of you. E-mail me, IM me, call me, or whatever ASAP and let me know.
Here's the costume:
Here's the costume:
Friday, August 17, 2007
Creatures
Hey Creature Girls,
Great job on Wednesday! I'm really proud of you all for taking on my strange but beautiful vision and I am extremely happy with how the piece looks. Next week we'll nitpick and rehearse, but I'm already thrilled. You've all really stepped up your game.
Love,
Amanda
Great job on Wednesday! I'm really proud of you all for taking on my strange but beautiful vision and I am extremely happy with how the piece looks. Next week we'll nitpick and rehearse, but I'm already thrilled. You've all really stepped up your game.
Love,
Amanda
Princes!
Neil and Danny's finale dance. Such great expression and they both really go for it the whole time. Loves it.
Thursday, August 16, 2007
Foxes!
OK, I'm obsessed with this dance. The judges weren't wild about it, but I adore it. Let me know what you think.
Tuesday, August 14, 2007
Monday, August 13, 2007
SYTYCD Final Four Dancers
I am so happy that Lauren was voted off, and I hate to say it, because I think he's a nice guy, but I'm glad to see Pasha go, too. I am SO glad that Sabra is in there (because obviously she should win), and I'm really glad Neil is there, too. Danny has great technique, but I think he just always looks too feminine when he's moving- there isn't a sense of masculine power behind his dancing. I like Lacey, too, but I don't think she has the personality that Sabra has. She isn't as likable of a person when she's out there on stage. So, my order of how I love them:
4. Danny
3. Lacey
2. Neil
1. Sabra
Let me know what you guys think about the remaining dancers. Just wanted to share my thoughts. <3
4. Danny
3. Lacey
2. Neil
1. Sabra
Let me know what you guys think about the remaining dancers. Just wanted to share my thoughts. <3
Sunday, August 12, 2007
Ohhhh, Turns...
Good turns are hard to do. We hate doing them, but the more we practice, the more precise and beautiful they'll be. Wear socks or dance shoes and spend some time spotting hard and using your legs to rotate and press into the floor.
Turnspiration:
All That Jazz
P.S. This girl is like, 9. Kills me.
Turnspiration:
All That Jazz
P.S. This girl is like, 9. Kills me.
Practice: Extensions
These girls are so tiny but they're some of the strongest little things I've ever seen. Near the beginning, one of the girls stage left just holds her leg up for so long it's insane.
This is a very pretty dance. Check it out.
This is a very pretty dance. Check it out.
Saturday, August 11, 2007
The One Thing You Can NEVER Forget
...is to point your feet. Not just the toes- your whole foot. Point it from the ankle, feel your heel pulling up into your leg- really, really point.
In every piece you do from now until forever, you MUST remember the importance of pointing your feet. Even if you aren't very flexible or if you aren't awesome at a certain trick, turn or leap, if you point your feet, you'll look a thousand times better. Watch some old dance videos or go on YouTube and watch some-- you'll probably be disgusted by the girls who aren't pointing their feet and you'll be impressed by the ones who do. It really does make a difference and it's something you can't overlook.
If you have a resistance band, use that to strengthen your feet. You can also do this with a pair of tights.
Just remember to always be aware of your feet and spend time practicing your point.
In every piece you do from now until forever, you MUST remember the importance of pointing your feet. Even if you aren't very flexible or if you aren't awesome at a certain trick, turn or leap, if you point your feet, you'll look a thousand times better. Watch some old dance videos or go on YouTube and watch some-- you'll probably be disgusted by the girls who aren't pointing their feet and you'll be impressed by the ones who do. It really does make a difference and it's something you can't overlook.
If you have a resistance band, use that to strengthen your feet. You can also do this with a pair of tights.
Just remember to always be aware of your feet and spend time practicing your point.
Friday, August 10, 2007
AMAZING
Channel this kind of energy for Creatures. Maybe not QUITE as creepy in the face, but the emotion is great!
Practice: Precision
You've probably seen this one already, but it's one of my favorite dances on YouTube. Fast Car from DC Dance Factory isn't the most emotional dance I've ever seen, but the girls' technique and timing is so precise-- this is something you should note and incorporate into your own dancing and learning.
Thursday, August 9, 2007
Today's Stretch
You should be stretching every day, but the Stretch of the Day for August 9, 2007 is:
Straddle Lying Forward on the Floor
Sit in your straddle and slowly let your body drop forward as far as gravity will take you. Hold this stretch until it begins to feel numb, then pull yourself back to sitting, take a few breaths, and repeat. Make sure you keep your knees straight and turned out, and that you keep your feet (not just your toes) pointed. This will stretch your legs and your core.
Please leave me comments or e-mail me, and let me know how your stretch routine went today.
Straddle Lying Forward on the Floor
Sit in your straddle and slowly let your body drop forward as far as gravity will take you. Hold this stretch until it begins to feel numb, then pull yourself back to sitting, take a few breaths, and repeat. Make sure you keep your knees straight and turned out, and that you keep your feet (not just your toes) pointed. This will stretch your legs and your core.
Please leave me comments or e-mail me, and let me know how your stretch routine went today.
Wednesday, August 8, 2007
Dancer to Watch: Sabra
I don't watch SYTYCD3 all that much, but I think that Sabra is absolutely phenomenal. She's so graceful and exciting to watch.
In this solo, I can't even understand how she makes that sound, but it's incredible. When you feel silly doing choreography or on stage, remember this. Something may feel weird and take you out of your element, but in the end, it turns out amazing.
In this solo, I can't even understand how she makes that sound, but it's incredible. When you feel silly doing choreography or on stage, remember this. Something may feel weird and take you out of your element, but in the end, it turns out amazing.
Practice: Surrendering to the Music and Movement
Here's a dance clip from SYTYCD3 of Lacey and Kameron doing a contemporary piece choreographed by Mia Michaels. Lacey completely surrenders herself to the music and the dance--that's why it's so beautiful. She isn't dancing steps and counting and placing her body into different positions, she's throwing herself into the movements and propeling through the music with power and emotion.
Girl can DANCE.
Girl can DANCE.
Thursday, July 26, 2007
Creatures Gettin' Creepy
Dear Creatures,
You are amazing and a little bit scary.
Love,
The smaller, more timid animals in the forest that you will inevitably eat for BREAKFAST
You are amazing and a little bit scary.
Love,
The smaller, more timid animals in the forest that you will inevitably eat for BREAKFAST
Monday, July 23, 2007
The Dance Place, Inc. Summer 2007
So, here it is. The Dance Place blog. Hopefully I can post pictures and helpful links on here. We can document progress and talk about specific pieces and technique on here, too. I suppose we'll figure it out as we go along.
Stay beautiful. All my love.
Stay beautiful. All my love.
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