Ignorant of Ballet -Rambert's Eternal Light Requiem - Reviewed

To start with, I should just make it absolutely clear - I know nothing about dance.

My own involvement doesn't go much past bad disco and my frame of reference for dance-as-an-art-form stretches from the aspirationally sweet Billy Elliot to the leather trousered, clog-hopping, dwarf of River Dance. So if you are curious about ballet but as ignorant as me, read on.

I had time to snatch a few words from the programmes before the lights went down and the curtain went up. This background research was all I had to go on for the first act. So the key words of The Raft of Medusa and were to be my guides for the evening. The Raft of Medusa was a giant raft on which 150 semi-clad Frenchmen cannibalised themselves. This was gonna to be interesting.

Eternal Light: A Requiem

I understood the raft formation of the dancers so was happy to go with this metaphor. OK, so first thoughts after praising upon myself for getting the raft-thing - they didn't all seem to be moving in time. The pussycat dolls may not have much classic training under their basques but when they writhe, they do so as-one. Then the raft formation broke up. Remember in primary school PE music and movement lessons? Well it was a bit like that with elements of Hippy look-at-me-I-am-a-free-spirit-ism thrown in there.

When the next scene began, I noticed the music. Up until this point I had been so busy trying to analyse something that was far beyond my understanding that I hadn't even noticed that there was any music. Suddenly everything was transformed. From this moment, some primal section of my brain took over.

Latin chanting and half remembered poems dragged up stuff I can't describe from places I dare not go. Twelve crucifixes were lowered over the stage. Here was a trick learnt from masters, Madonna and Ozzy Osbourne both new the power of this stuff. "In Flanders fields the poppies blow, between the crosses row on row" overlaid with "Dies Irae". Bloody hell. Judgement Day. This would have little Billy Elliot weeing in his pants. Doom laden death ballet. Or was it brim full of hope? That probably depends on your glass half-empty, half-full status. And anyway it's a yin-yang thing.

More of the same up until the interval; which isn't a bad thing - beause I was loving it.

Two Solos as a Tribute to Norman Morrice & See Me
Part two was good, but not as good. The resonant chanting of penitents was replaced with the some middling classical music like I had expected from the start. The lighting made me think of the scene in Face/Off with Nicholas Cage totally out acting John Travolta. As I thought this I realised that I was no longer in The Zone. I started to notice that the dancers' footsteps were very loud on the stage - which was very shiny.

During the second interval, I debated with myself as to wether I should go/stay.

I was distracted from my inner arguments by three idiots in shiny blue suits standing next to me at the bar. They were debating the quality of the dancers and one of them - a fat goggle eyed twat - announced that he would "do" the second girl from the left.

I stayed. I wish I hadn't.


Carnival of the Animals
The third part of the evening was carnival of the animals. To my layman's eyes/ears it was plinky-plonky music that was intended to sound like an animal accompanying a dance that represented said animal. Some retrospective googling proved this guess to be a fairly accurate idea. It was the like Lion King without the costumes or music. I am sure Fat Rory got off on seeing his favourite dancer portraying flirtatious chicken. But I didn't get it. The backdrop portrayed Henri Rousseau in one of his jungles and I could hear him thinking, "my paintings of animals are childlike and unrealistic, but this takes le biscuit" Well-said Henri.

The Rambert Dance Company's press officer agent told me that three parts of the production was like a box of chocolates. I like the metaphor; I will stretch it beyond its elastic limit.

To begin with I picked out an orgasmic liquor. I bit into it tentatively and was pleasantly surprised as liquid seductively ran all over my tongue before warming my throat. The vapours infused my mind leaving me feeling light-headed. Part two was a strawberry cream. The finale was that hard caramel that gets thrown way with the packaging.

To read the original of this piece Rambert Eternal Light, Brighton visit The Hussy. by Rob Hartingale

Art is a creating plan and some excellent ideas.

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How to Prepare For Pointe Shoes and Prevent Dance Injuries

Prepare, prepare, prepare, for dancing ballet in pointe shoes. Learn how to prevent dance injuries like a sprained ankle or a ballet knee injury years before you, or your child is looking for exactly the right fit in pointe shoes. Even recreational dancers who may leave ballet classes for hip hop, jazz, salsa, cheer leading or any other style of dance, benefit from learning how to do basic classical ballet technique correctly.

The basic ballet movements and ballet positions can be executed correctly by almost any dance student. Students who do not have the physical attributes of turnout, flexibility, long legs/short body, long arms and long necks, can still learn to do ballet correctly enough to advance.

In some ballet schools, teachers actually believe that a student will never be able to do certain ballet movements because they lack "X" physical attribute. Unfortunately some students absorb this negativity whether the teacher voices it or not. It's a shame.

If you feel like you are not progressing and you do not get the coaching you need in ballet class, read, read, read. There is detailed information available about ballet technique and also there is plenty of help in the area of anatomy and anatomical correctness in ballet movement. The all too common sprained ankles and knee injuries of ballet/sports/fitness can be avoided, for you.

The trick is how to get YOUR body to do THAT. If you are a few degrees too many from the ballet ideal, your teacher may not be able or may not be willing to help you. However, you can learn what you need to do to develop the correct application of for instance, a demi plie, onto a correctly postured releve with a correctly stretched arch and ankle.

If you aspire to become a performer in another dance style such as jazz or hip hop, your longevity in dance will depend on the correct use of your body. If you aspire to dance ballet in pointe shoes, you need to be sure that your time and effort and the thousands of plies, degages and battment tendus are not being practiced with errors that will lead to injury.

Your basic dance movements imitate the advanced and sometimes intricate classical choreography. Modern ballet and modern dance choreography often cannot be imitated by basic ballet movements, but you are more prepared for that if you know how to move and prevent injury.

Take advantage of the wealth of information available at ballet stores in books and on DVDs. You can learn what you need to know to prepare to dance in pointe shoes and prevent ballet injuries. by Dianne M. Buxton