So you want to dance: Part 3 of series Part 5 of series Postings discussion This link allows you to see others thoughts on this piece and contribute to the debate yourself if you want. We look to guarantee this link for a number of years, though after 3-6 months the page may be closed to further additions. Ballet.co's Doing Dance forum reviews by Anjuli Bai

Well, I like the barre because I can hang onto that, but those mirrors!! Ack!

Beginners often have a problem with mirrors. For the teacher they are extremely useful. When the teacher stands at the back of the room behind the students, she can then see them from behind (where she is standing) as well as how they look in front (through the mirror). You have to learn to think of the mirrors as a tool, a way to check what you are doing, not to condemn yourself, but to improve yourself. However, it is possible (very possible!) to become immersed in the mirror. There are a number of head positions in the ballet that if done correctly, would preclude you from seeing yourself in the mirror. So, learn to use the mirror judiciously.

But using the barre is pretty straightforward isn't it? It helps to hold me up!

The barre offers some initial support, nothing more. The ideal barre is made of wood, wide enough so one can't grasp it too tightly. It should be high enough so that your hand rests on it while your arm is correctly held in second position. Grasping the barre or leaning the weight toward it is a common error. If the barre is not used correctly it can actually impede your progress. Your body will not learn to support itself. It's a very good idea at frequent intervals to lift your hand from the barre throughout the exercises to test where your weight is placed. Remember that dance occurs in the center (sans barre) so one needs to limit the amount of dependency upon the barre.

How about those other items of equipment that you mentioned?

The most important is your body. Unlike a musician, or a painter, etc., the dancer's own body is the embodiment of the art form. You need to care for it with that thought in mind. That means good health habits, careful dance development, and judicious use. The bottom line is, you are the guardian of your body. Don't allow it to be abused. That includes finding a knowledgeable teacher, so that healthy progress is made in your studies of the ballet. Read, study and become knowledgeable yourself so that you can monitor your progress and assure that it is happening along constructive rather than rigid lines. A case in point is the concept of turnout. It should not be pushed beyond the limits that your body can accommodate. A good teacher will help you to learn what those limits are and how to get there, and not to go beyond.

The floor…..?

The floor is the dancer's friend! Don't be afraid of it! Every dancer has fallen down, it's no disgrace, and it's not that far down! The floor is useful as an isometric exercise. This is most obvious in tendu. A dancer learns to use the floor, a great dancer learns to possess the floor. It's handy in stopping a pirouette (by putting your standing heel down), and it's useful to push against for a jump. A juicy plié will soften your landings and impel your take-off. The floor is your support. But, like your body, it changes everyday. The weather is a factor. When I was dancing I always tested out the floor before every class (by trying out my pirouettes) to see if it was a fast floor (slick) or slow (sticky). This gave me a picture of the amount of energy needed to use the floor to my advantage.

And music!

Music is the scaffolding of dance, whether it is a symphony or a simple tapped out rhythm. The music should come through your body. This takes a while to learn, but it is the music that initiates the movement, it becomes visible through the dancer. You learn to breathe with that pulse beat which will not only infuse your dance, it will also sustain you. If you inhale in time to the music it will suspend your jumps and it will aid in your balance throughout the ballet vocabulary.

….space? (this sounds strange!)

Space exists, air exists. We can't see it, but we can feel it and the birds use it. So can we! Dance is a three dimensional art. We makes lines in space, therefore we make it visible and give it shape. The spaces between our arms, legs and head are just as important as the lines themselves. One creates the other. The air about us is also useful, dancers learn to engage the muscles in the back and under the arms to aid in pirouettes, much as a bird uses a wing.

And there's one more "piece of equipment" that I should have mentioned - patience. A dancer learns the value of patience. No matter how talented or how well suited a dancer is the progress and learning come only with dedication and patience. Dance is wonderful training for the mind as well as the body.