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Dance Quote

Dance Quote


Dance Quote 1/22/17

Dance Quote 1/22/17

Today’s dance quote is by Bob Fosse. He is one of my most inspirational dancers and choreographers that I look up to and thrive to be like. Saying “Fosse”, has a meaning of its own. Say “Fosse” to a jazz dancer and watch them strike a pose with jazz hands and all! He inspiresme everyday to be an amazing choreographer like him. Enjoy! 


Pointe Ballet 

Pointe Ballet

“Pointe technique is the part of classical ballet technique that concerns pointe work, in which a ballet dancer supports all body weight on the tips of fully extended feet within pointe shoes. A dancer is said to be en pointe when the dancer’s body is supported in this manner, and a fully extended vertical foot is said to be en pointe when touching the floor, even when not bearing weight. Pointe work is performed while wearing pointe shoes, which employ structural reinforcing to distribute the dancer’s weight load throughout the foot, thus reducing the load on the toes enough to enable the dancer to support all body weight on fully vertical feet.”

“Pointe technique resulted from a desire for female dancers to appear weightless and sylph-like. Although both men and women are capable of pointe work, it is most often performed by women. Extensive training and practice are required to develop the strength and technique needed for pointe work.[1] Typically, dance teachers consider factors such as age, experience, strength, and alignment when deciding whether to allow a dancer to begin pointe work.”

“Pointe technique encompasses both the mechanical and artistic aspects of pointe work. In particular, it is concerned with body alignment, placement of the feet, and the manner in which a dancer transitions to and from en pointe. A dancer is said to have “good” or “proper” technique when in conformance with the best practices of pointe technique, which in turn are generally referred to as proper technique.”

  • “Body alignment and foot placement are fundamental aspects of point technique, as illustrated by this en pointe dancer.”

SourcePointe Technique

What are the components that make up a pointe shoe? 

When do you start pointe?

Someone who regularly takes several classes a week can probably start at a younger age than someone who attends less frequently. During the first year of pointe you will probably be expected to take at least three or four ballet classes a week (a minimum of 5 hours).

“It is hard to tell an eager young dancer that she is not yet ready for pointe shoes. Students — and parents — must realize that teachers have to be firm: there is a risk of serious injury in introducing pointework too soon. Starting pointework is not just a question of age or physical maturity; readiness depends on strength, technique, attitude, and commitment.”

“The bones of the foot are not fully developed until sometime in the late teens or early twenties. Of course, there is a great deal of individual variation. If a young dancer attempts pointework without proper strength and technique, the significant forces created by the combination of body weight and momentum can permanently damage those not-fully-developed bones. Yet if a dancer is truly ready, if the introduction to pointework is gradual and always carefully and knowledgeably supervised, if the pointe shoes are well chosen and properly fitted, there is minimal risk of injury even if the bones are not fully formed.”

“Most dancers are ready to begin pointework between the ages of ten and twelve. Occasionally a supremely strong nine-year-old can safely go on pointe, but this is unusual. There is rarely any harm in waiting. A dancer who starts pointework a year later than her classmates almost always catches up. Many adult beginners are not ready for pointe either, but there is much less risk in their using pointe shoes because their feet have fully grown. In general, these are the criteria for readiness for pointe shoes:”


“Most dancers need at least two to four years of training in ballet technique, with a good attendance record, before going on pointe. Other forms of dance, or classes that mix ballet with other forms, don’t count.”


     “Your demeanor shows that you have the maturity for pointework. Your attitude is attentive and hardworking, and your studio etiquette is exemplary.”


Pointework requires a continual lifting up and out of the shoe. It’s the same strength and skill needed for attaining and sustaining a balance on high demi-pointe on one leg. That means that you can always hold your turnout when you dance, that your abdomen and lower back — your core — are strong, and that your legs, and especially your knees, are really pulled up.”

*Health and Physique

“You should be in good health, not recovering from illness or injury, and of normal weight. You must possess the stamina to make it through a full ballet class several times a week. You don’t need insteps arched like bananas, but your feet must not be so flat or your ankles so stiff as to prevent you from properly “getting over” onto full pointe.”

“It’s the rare dancer is not tremendously excited about going on pointe. It’s a good sign: an indifferent dancer may not have the perseverance needed for the repetitive exercises pointe training entails. But don’t let your enthusiasm tempt you to practice at home or to wear your new pointe shoes around the house. Proper supervision is so important that some schools require that their students keep their pointe shoes at the studio. And when you are ready to go on pointe, congratulations. You have worked hard for this moment.”

You must be able to both relevé and piqué up to a balance. Calf and ankle strength are essential. Your relevé must be particularly strong; at least sixteen flawless ones onto a high demi-pointe center floor should be easy. You must demonstrate the correct use of plié in your dancing and know how to work your feet properly in tendu and all other exercises that require pointing the foot — no sickling.”


How a dancer must hold their body: 


My Favorite Dance Quotes

My Favorite Dance Quotes

This is a little topic I would like to bring up every now and again. I have been a dancer for over 30 years. Jazz is my dance background. I danced it all through school, including college, at UF. Now I am a dance instructor and choreographer. I love to reflect back on famous dance quotes because they always make me a little happier. Seeing any quotes from Martha Graham makes me inspired and proud to be a dancer. Her words have moved me to tears before. Today’s quote that I chose is by Martha Graham. Only right to show her words after I give much praise. 


Waltz With Me…

Waltz With Me…

The Waltz is one of the smoothest ballroom dances. It is a progressive dance marked by long, flowing movements, continuous turns, and “rise and fall”. The dance is so graceful and elegant. Waltz dancers appear to glide around the floor with almost no effort. 

Here’s a little history about the Waltz:

“When first introduced into the English ballrooms in the early 1800’s, the Waltz was denounced by both church and state for its vulgarity and immorality… this was, after all, the first time society had seen this outrageous dance position, with the man holding the lady so close to his body. But the very thing that brought it such criticism also made it appealing, and the Waltz was here to stay.”

“Throughout its history, the Waltz has undergone many changes. Even before its introduction into society as a ballroom dance, it was a country folk dance born in the seventeenth century in the suburbs of Austria and Bavaria. By the middle of the eighteenth century, the dance had grown in popularity and spread throughout Europe.”

“The Waltz was introduced into the United States in the mid-1800’s. The standard Waltz tempo at this time was still very fast and quite demanding to the average dancer, and before long, composers were writing music which was much slower. From this music evolved a style of Waltz called the Boston, with slower turns, and more longer, gliding movements. While the Boston eventually faded away, it did stimulate the development of what we now know as Slow Waltz.”

“The twentieth century saw two distinct styles of the Slow Waltz evolve. The English refined the movements and codified the technique into the competitive International style, while the Americans developed a Waltz with a more theatrical flavor.”


Now learn how to do the basic: Waltz Left Box Turn

Visualize the box. The basic waltz steps create the image of a box on the floor. This is why the basic step is called the Left Box. Your feet will stop at the corner points on the box and move along the edges and diagonally across the center. Envisioning this shape will help you as you learn the dance.

Next, count in threes. The waltz is known for its three beat count. As you step, you should be able to count 1-2-3, 1-2-3, etc. Two 3-counts should complete your box.

“Dance basic steps or add turns. You can dance the basic square movement, especially in the beginning when you are learning the dance. However, it is more common for the waltz to include turns. These are easily added once you are more accustomed to the dance.”


  1. Lead clasps follow’s right hand in their left. Hold at shoulder’s height.
  2. Lead places their right hand to cup follow’s shoulder blade.
  3. Follow places their left hand with fingertips at lead’s shoulder seam.
  4. Place elbows at shoulder’s height.
  5. Stand with backs straight, upright, and knees loose.


Things We Like: Edgar Degas, A Strange New Beauty —

Edgar Degas, Frieze of Dancers, ca. 1895, oil on fabric, 27⅝ × 79 inches.THE CLEVELAND MUSEUM OF ART, GIFT OF THE HANNA FUN Few modern artists have achieved the work of the enigmatic painter Edgar Degas. The master impressionist is known for his masterful depiction of movement, human form, color, and dance. The New York […]

via Things We Like: Edgar Degas, A Strange New Beauty —


#716 — IAmRisingHawk

Striving ever striving twisted toes on uneven plank floors dreams torn stars born dreaming of the stage Art: Degas

via #716 — IAmRisingHawk

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