STAGE MAKEUP

Hello friends,
I wanted to write to you today about your child’s beautiful face, and why it sometimes needs a little makeup. I firmly believe that we should let our kids be kids for as long as possible and that there is no reason to force them to grow up too soon but stage makeup is an exception.

There is no reason to send your little one to a regular class with lipstick (although sparkles are always welcome), however stage time is a very different kettle of fish. Even in the smallest, most intimate settings makeup is a welcome addition to your child’s overall performance.
And here’s why:
1)first and foremost makeup improves visibility of the face’s features to the audience. Under bright lights and from a far distance your child’s beautiful eyes, lips and cheeks will become washed out and it becomes very difficult to see their smile and other features. This is particularly important if their face is “acting” for example, if your child is acting out a large yawn, makeup emphasizes the movement and helps it to translate from their face to the audience.
2) Makeup also can transform a regular person into something extraordinary and allude to traits of the character they are portraying. Imagine your child is a beautiful fairy dancing about the stage. Some colorful eye shadow and perhaps sparkles lets the audience know that she is good, yet darker makeup in a monochromatic color scheme implies she is playing the bad guy.
3) Makeup also hides flaws in the skin, just as many adults incorporate makeup into their everyday regime to perfect their appearance, it is important for performers to look their best when they are on stage (although this usually only becomes an issue once your children are old enough to make the makeup decisions for themselves)
4) Last but not least stage makeup is usually over the top and larger than life. It is not meant to look like everyday makeup from up close. Thus when your child is so done up it automatically puts him/her in performance mode. Having a constant reminder of the stage on their face reminds the performer that this is a special occasion and often makes them feel exceptional. Even if the stage is close enough and the lights are not so bright that the makeup looks a little over-the-top your child probably feels very special wearing it and proud to have the finishing touch that make him/her feel like a real performer.

And now for a little history:
The earliest known use of theatrical makeup was by Thespis, a famous Greek Actor (and where we derive the term Thespian) in an effort to stand out from the Greek chorus Thespis painted a toxic covering of white lead and mercuric sulphide to create a white and red face paint. The use of makeup for theatre became more common in the 1500’s when performers used face paint to depict characters. Performers in Elizabethan times used chalk and soot on their faces to depict characters and show expression. Also during this time period, the Japanese Kabuki theatre, a form which is known to utilize elaborate makeup, became increasingly popular. From here onwards makeup continued to be used in varying degrees and methods to enhance performances in all countries and forms of performing arts.

Now the real question… how do I apply makeup to my child’s face?
There’s no simple answer to this. Little ones can often be squirmy and resist having makeup on their face. If this is the case just go for the minimum. Use a big soft brush to apply a bright pink or red blush, pick pink or red lipstick that will stand out and if you can, get them to hold still for a little mascara (asking them to blink it on often works). For less fussy or older performers try a bold eye shadow (brown is usually a safe color), lip liner (pick a color just darker than the natural lip color) and false lashes (these may take practice and are more appropriate for older performers) are always a nice touch.

Most importantly have fun with makeup! If your child really does not want to wear it, or something feels uncomfortable don’t sweat it. After all the makeup is only there to enhance their superb dancing and expressive performance.

 For some video tips on how to apply makeup feel free to check out the following links:

http://www.youtube.com/watch?v=e_GpEQ0PIOo&feature=relmfu

http://www.youtube.com/watch?v=hRmER1BMdOw&feature=relmfu

http://www.youtube.com/watch?v=ZJMJ7ux0yqE&feature=relmfu

http://www.youtube.com/watch?v=JkWr201f1O4

Shelby Jansen
BFA Drama/Dance

BASICS OF THE STAGE

I just wanted to touch on some basics of the stage that every dancer (and all other performance personelle) should know.

The areas of the stage:
It seems like such a simple thing that we often forget to inform young dancers where the different areas of the stage are. With young dancers I often find it is difficult enough to ask them to master the ability to differentiate their left foot from their right, let alone something as vast as an entire stage; Yet I strongly believe that acquiring this small bit of knowledge early sets a dancer up for success and enables them to have a greater, more professional, physical awareness.

There are 9 key areas to any stage which are derivatives stage left, stage right, center stage, upstage and downstage.

In North America when we refer to stage right it means the dancer’s right OR the right side of the stage if you are on the stage and looking out to the audience. The left side obviously being the reverse- dancer’s left.

In the middle of the stage is centre stage and on either side of centre is centre stage right and centre stage left. (see diagram if you are beginning to get a little lost)

The stage also has a downstage portion and an upstage portion. Downstage refers to the portion of the stage which is closest to the audience- often refered to as the “front” of the stage”. Upstage is the portion of the stage furthest to away from the audience (although not often called the back of the stage as “backstage” refers to an entirely different place). The reason for this dates back to stages in the Middle Ages and early Modern era when theatres often had what is called a raked stage. These stages often literally sloped upwards away from the audience to improve the visibility for theatergoers. – Imagine how hard it would be to dance on a stage which was angled downwards!

It takes a little while to get used to this terminology, but it is an essential skill which all aspiring ballerinas (as well as actors, directors, choreographers theatre technicians etc…) should familiarize themselves with form an early age. Doing so ensures that everyone inside the theatre is on the same page and can effectively communicate to one another.

BONUS: in case all of this is overwhelming I have also taken the liberties of creating a little diagram for you to refer to!

Enjoy!

-Love, Miss Shelby

AUDIENCE

BENEFITS OF DANCE FOR CHILDREN

-          Development of co-ordination, strength, stamina, flexibility and mobility

-          Development of confidence and self-esteem through achievement

-          Cultivation of an enjoyment for movement

-          Cultivation of an enjoyment and appreciation of music

-          Development of body awareness and a clear body image 

-          Development of spatial awareness and motor skills as well as physical 
           confidence and control

-          Cultivation of concentration and focus

-          Awareness and respect for others.  An appreciation of differences between 
           people

-          Experience of working with others; opportunities to work as a member of a
           team and to develop leadership skills

-          Enhancement of memory through physical patterning and repetition

-          Development of problem solving skills

-          Learning to learn

-          Opportunities to explore the relationship between feelings, values, ideas 
           and expression.  Experience of communicating with others verbally and
           non-verbally.

-          Understanding of a core artistic discipline

-          Access  to a unique means of translating ideas, expressing meaning and 
           communicating with others

-          Kinaesthetic awareness, physical literacy development

-          Development of facility in performing, making and appreciating an art 
           form

-          Access to collaboration with other art forms including music

-          Understanding of the creative process, developing creative thought and 
           action

-          Understanding and appreciation of artistic products

-          Development of observational and perceptual skills, the ability to make 
           informed judgements

-          Understanding of how the body works and the importance of taking a 
           responsible approach to taking care of your health and fitness

In summary, learning dance has a wholistic educational value reaching far beyond that of solely physical benefits.   In addition to the physical benefits of dance, there are benefits that affect the deep development of the human being. 
How marvelous!

STRETCHING FOR DANCERS

Benefits Of Stretching

-          Improved flexibility and stamina (muscular endurance).

-          Improved muscle strength by increasing the mechanical advantage
           you can generate with the limbs. 

-          Reduced muscle soreness, aches and pains.   

-          Reduced muscle tension.

-          Improved flexibility.

-          Good muscular and joint mobility.

-          Increases the temperature of the muscles to make for more efficient
           muscular movements and fluidity of motion.

-          Greater ability to exert maximum force through a wider range of motion.

-          Improved appearance and self-image.

-          Improved body alignment and posture.

-          Better warm-up and cool-down in an exercise session.

-          Aids with injury prevention.

-          Releases toxins from the muscles.

-          May be a good intuitive method to increase focus and concentration.

Stretch Recommendations

In order to achieve results with stretching…daily is recommended (or as close to this as possible).  The majority of stretches should be static (meaning that you are slowly moving the body part into position and then holding the stretch for a set time).  Pre exercise stretches should be of a light intensity for a warm up, to cool down stretches can be of a medium intensity.  Stretches of a more heavy intensity will achieve results with or without an additional exercise program.  Hold stretches for the count of 30 sec. release for 10-30 sec. and repeat this 3 times. 

A Few Great Stretches

Seated Hip Adductor Stretch

Technique:  Sit on the floor with the knees bent, feet together with the soles touching.  Bring the heels of the feet as close as possible to the buttocks.  Grasp the feet or just above the ankles with elbows spreading sideways and touching the legs just below the knees.  Bend the trunk of the body toward the feet, and press the lower part of the thighs and knees down with the elbows while stretching.  The closer the heels are to the buttocks, the greater the stretch. 

Muscles Stretched: Gracilis, adductor magnus, adductor llongus, adductor brevis, pectineus, middle part of Sartorius, lower erector spinae, lower latissimus dorsi.  To a lesser degree the gluteus maximus, posterior part of gluteus medius.

Seated Knee Flexor Stretch

Technique:  Sit on the floor with the legs extended parallel (ankles as close as possible together).  Place the hands on the floor next to the thighs.  Bend at the waist and lower the head toward the legs.  Keep knees from bending and lifting as you bend forward, sliding the hands toward the feet.  To maximize the stretch do not bend the knees, tilt the pelvis forward, or curve the back.  Also, bend the trunk forward as a single unit , keeping it centered between the two legs. 

Muscles Stretched:  Semitendinosus, semimembranosus, biceps femoris, gluteus maximus, gastrocnemius, lower erector spinae.  To a lesser degree the soleus, plantaris, popliteus, flexor digitorum, flexor hallucis longus, posterior tibialis. 

One-Leg Kneeling Knee Extensor Stretch

Technique:  Step forward with the left leg and bend the knee at about a 90 degree angle.  Keep the left knee positioned above the left ankle.  Extend the right leg behind the torso and touch the floor with the right knee;  the lower leg lies on the floor (top of foot on floor).  Hands can be placed on the left knee to maintain balance.  Move the hips forward, pushing the left knee in front of the left ankle and dorsiflexing the ankle.  Move slowly to the stretched position and keep the left knee pointing forward.  Do not let the right knee move along the floor.  Keep both hips facing forwards.

Muscles Stretched:  Right vastus medialis, right vastus intermedius, right vastus lateralis, middle and upper right Sartorius, right rectus femoris, right psoas major, right iliacus, right tensor fascia lata.  To a lesser degree right pectineus, anterior part of right gluteus medius.

Happy Stretching!

Sources:  Stretching Anatomy By Arnold G. Nelson and Jouko Kokkonen 2007; Dancing longer Dancing stronger By Andrea Watkins and Priscilla M. Clarkson 1990; Conditioning For Dance By Eric Franklin 2004

It is often said that teaching young children is one of the most rewarding experiences a teacher can have. I have found this is so very true! As I count my blessings this year I am so very thankful for each and every student who I am so very blessed to have as part of my life.

Each student I teach and have ever taught has imprinted themselves unforgettably somehow on me. Their unique qualities and gifts to the world shine through and touch me.

There is kind and gentle Hannah and her ethereal quality of spirit…I need to remind myself to breathe…her dancing is just beautiful..like an angel gracing the dance floor! And Stephanie, with her pigtails wiggling like mad in her zeal to begin class…her enthusiasm never wavers! Clancy who’s genuine concern for the fairies daily dairy intake is a testament to her ginormous heart! .. Oh dear I do believe I could go on for endless hours (if not days) recounting each student’s brilliant qualities and moments! A decade of students who are each unforgettable!

And as a teacher, I suppose like everyone, there are challenging days…my patience is thin or I am worried or my dear little baby has kept me sleep deprived for days…. but then the magic of the children beings to stir … and their enthusiasm and laughter infects me and tada I am back in the present moment… truly enjoying the ‘present’ these bundles of delight have brought with them! What a Gift!

It seems that I can’t help but be tickled pink by the unending lengths of children’s fabulous imaginations…sometimes I find the giggles are hard to contain and they spill out like a bag of sparkles! I am so very grateful for laughter and imaginations! As Antoine de Saint-Exupery said ‘A rock pile ceases to be a rock pile the moment a single man contemplates it, bearing within him the image of a cathedral’. Oh the gift of imagination can turn anything into something quite magical!

Teaching young children has pushed me as an instructor to grow and stretch .. grow and stretch! There is of course no one way of teaching whether that be through demonstration or verbal directions that will enable all children to grasp a new skill or concept. As a teacher you stretch yourself to have not one but dozens and dozens plus more of different approaches to teaching the same concept. And then one day…wowwie doodle scootle… a student achieves success with a step or concept that has been eluding them… the look of pride and happiness on their face is so very rewarding!

So A Super Huge Thank You To Each and Every One Of My Students For Being Your Super Special You! Wishing You All A Brilliant New Year!

As a dancer and instructor I am always interested in learning more about the mind/body connection. Upon reading Anne Green Gilbert’s Book “Brain Compatible Dance Education”, the importance of dance, and physical activity, took on scientific significance. Gilbert has developed a warm-up sequence called “Braindance” geared to activating the brain while engaging the entire body.

Through a system of movements dancers and movers-alike reap the rewards physically and mentally where; moving the two sides of the body independently develops horizontal eye-tracking that is necessary for reading, moving the upper and lower halves of the body encourages higher level brain function and working on and off balance stimulates the vestibular system; strengthens eye tracking; hearing; proprioception; balance and coordination. From my own research and experience the enjoyment of mindful movement is a by product of restoring a youthful vitality in our lives.

Don’t let the kids have all the fun, studies show that movement based practices are proven to enhance brain function, as well physical ability, in all ages! With yoga studios, boot camp, Pilates classes, and personal trainers around every corner it’s an easy addition to your schedule and a beneficial adjustment to your life.

Gemma Crowe
Current University of Calgary Undergraduate, Dance instructor at Ballet Classique Methusela

Green Gilbert, A. (2006) “Brain-Compatible Dance Education”

What an amazing experience this years summer performance camp was! This year we expanded the repetoire with this camp and put the creation process into the hands of the students themselves. Creating ballets is such an extensive process from the choreography, to the set design, to the costumes and more! When we sit in the theatre it is easy to take the whole for granted..what better way to really gain insight into the behind the scenes of a ballet production then to attempt the process ourselves! This year our students created and choreographed themselves the dances to the classic tale Stone Soup, they then chose their own costumes and designed and created their own set! The result was fabulous! Way to go boys and girls! We are really looking forward to presenting this short ballet and theatre experience to our school in September and as well at several community seniors homes in our community. I think our fall ballet field trip to The Nutcracker may take on a whole new ‘specialness’ for our students who participated this summer! Congradulations boys and girls! Your dances were oh so creative, your backgrounds were so vibrant and meticulously detailed right down to the hand carved and painted veggies for the ‘soup’ and I absolutely LOVED your costumes! BRAVO!

Ballet Classique Methusela is pleased to announce that as of September 2011 we will be moved in and renovated in our new home in the cosy community of Crescent Heights. With loads of parking, a beautiful bright studio and of course our incredible roster of dedicated instructors…this year promises to be quite marvelous! Ballet Classique Methusela is pleased to accept registrations for fall classes starting August 10 2011. Give us a call (403) 245-4346 and tell us what classes you are interested in!