Writing Style 3

Future fit training limited (2006) states that Lordotic posture or Lordosis is very common in dancers; its defining characteristic is “where the lower back has an excessive curve”. Initially a number of the young girls in Power Academy of Dance Grade 4 Imperial ballet class displayed the anterior pelvic tilt, the lengthened rectus abdominus, the flexed hip joint, the hyper-extended lumbar spine and relaxed gluteals associated with Lordotic posture (http://www.mgmpt.com/id6.html [Accessed 16 November 09]). Correct posture is essential in ballet, Jackie Pelly physiotherapist is quoted in Lantin (2005) stating “If dancers maintain a neutral posture, they are not putting the body under so much strain, and are less likely to sustain injury” (The Telegraph, Lantin, 2005) and therefore it is essential for a dance teacher to instruct on good posture. Buxton (2008) dictates the ideal posture in the dance genre of ballet involves the “spine neutral and elongated by the lengthening support of the abdominal and spinal muscles, turn out held in the deep rotators, and the gluteals or butt muscles not over supporting, allowing your hip bone and pelvis of the working side to relax down” (Buxton, 2008, Buzzle.com [Online]). When considering the ages of the students it is necessary to provide them with an increased understanding of the technical requirements of posture as “puberty is an important stage for acquiring elite performance skills (ISTD Dance Examination Board, 2005, p38).

ISTD Dance Examination Board (2005) quotes Fontana (1995) declaring that association, visual presentation, repetition as well as recognition are acknowledged “strategies for assisting memory” (ISTD Dance Examination Board, 2005, p76-77). Although the students of the grade 4 imperial ballet class had been introduced to posture before the initial lesson this was through association only (told to stand like princesses and pull in those tummy’s) and this concept was never defined as posture however during the initial lesson the technical concept of posture was introduced and by using Fontana’s (2005) proven techniques of assisting memory, association, visual representation and repetition were all used in the initial lesson followed by repletion, recall and recognition in the weekly lessons over the forth coming month, technical improvement were visible. However without the addition of positive praise to the memory strategies White (1991) states that “self-esteem is the pivotal point between success and failure; it has a marked effect on learning” (White 1991, quoted in Buckroyd 2000, p 73). By the end of the four week period marked improvements were visible on a number of students in the class with their spines more elongated, abdominal muscles and gluteal’s active and the hip bones and pelvis relaxed and therefore level, essentially their initial Lordotic posture was not as severe as that observed in the initial lesson. A continuation of repetition, recall and recognition will enable the students to continue to improve their technical ability thus enhancing any work that they perform.

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The girls in the Grade 4 Imperial Ballet class have dramatically improved their once arched spines, lopsided hip placement and relaxed stomachs by following inventive instruction about posture during their lesson. They no longer display the casual posture of a teenage girl during their barré work within a ballet class but are gaining the control to perform the elongated and balanced posture required to present an accomplished technical dancers aiding the beautiful aesthetic line associated with ballet.

Each week a group of young teenage girls enter Power Academy of Dance ready to learn the discipline of classical ballet where they are taken on a journey of wondrous discovery of self and the marvel of the enchanting world of Classical Ballet. On Wednesday the 14th of October the students were introduced to the technical requirements of excellent posture when the teacher brought in a unique and inventive teaching tool in order to help the students comprehend what good posture means and what physical position the body had to adopt so that the ideal alignment of the body could be created. The initial response to the teaching tool was met with amusement however it enabled the students to visualise and feel elongated position of the spine and the internal feeling of the weight placement going up and over. One at a time the teacher went along the barré giving each attentive student individual encouraging feedback by guiding the movement both verbal and physical encouragement. Each one of the girls displayed an understanding of the concept through their movement. This new method of teaching introduced the technical concept of posture in a new and charismatic way as although a child is taught posture in ballet from a young age it is not given a specific name, children are told to stand up tool and effective imagery is vocalised “stand like princess”, “make sure you don’t burn your bottom or your nose in the toaster” and “don’t let me see those banana backs” so that young children can associate an instruction with something that the know, without confusing them with complicated concepts.

In each forth- coming lesson the girls were reminded at every opportunity to exert the same stance that they experienced in that first lesson and to concentrate on this in all of the exercises. Gentle prods of verbal encouragement were given when a student relaxed their posture and through this repetition of movement the student’s posture technique has vastly improved enabling the students to perform the set arrangements with grace, composure and confidence. The continuation of the development of this elongated extension of the spine, the equalised structure of the plane of the hip bones , the intense involvement of the abdominal muscles , the relaxation of the shoulders and the internal sensation of the weight dispersing up through the body and projecting over has given the students the basic tool to accomplish any of the divinely stunning ballet choreography.

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Power Academy of Dance is proud to announce the technical advances of their Grade 4 Imperial Ballet Students. Substantial breakthroughs have been made since the beginning of October with a number of students identifying what is correct posture and putting this knowledge into physical practice, creating the foundation for superb results in the summer exam session.

The students aged 11-14 began their learning journey on Wednesday 14th of October when the focus on posture was introduced into their lessons. A ‘unique’ teaching tool was used in order for the students to understand what correct posture was in a classical ballet stance and what this felt like within their own bodies. The unique learning tool added some fun and excitement to the class while the students were still learning the fundamental elements of posture. Since the initial lesson constant reminders have been given to the students, making sure that they remember the 3 P’s in classical ballet; Posture, Posture, Posture! Before every exercise a the students are given a verbal nudge in order to stimulate their memories so they can actively concentrate on their posture as the students still have to practice this concept a few hundred more times before straight backs override ‘Banana’ backs in their muscle memory. At this level posture becomes more than just standing up nice and tall like a princess and not getting your bottom burnt in the toaster when performing a knee bend (imagery is a well recognised teaching tool that enables young children to associate a concept with something that they know), it becomes the foundation of all technique for without it many movements cannot be accomplished. Alina Cojocaru, principal dancer of The Royal Ballet could certainly not dance the role of Princess Aurora in ‘The Sleeping Beauty’ without firm posture as the choreography would simply be impossible without this concrete foundation.

It was extremely visible in the last class on the 11th of November that the students have made astounding improvements with their posture; keeping their backs long, shoulders down, hips more level and each student has the ability to hold their core muscles for longer than ever before. By having a hands on approach to teaching and by creating a stimulating and enjoyable learning environment while ensuring repetition of technique the students have flourished and each parent should be very proud of their child’s accomplishment. The progression made has enabled the students to become more confident and perform movements with more technical accuracy while also adding a little sparkle to their work. A continuation of this learning and improvement will certainly lead to the children’s best exam results yet and an even more dazzling performance at next year’s dance festival in Bedford ‘Dance 4 all’.