Your first class can be a big step (pun intended) but you don’t have to worry. CDT wants to share the love of dance in a supportive and enthusiastic space so we encourage, not criticise.
Read the FAQs page about what to wear and how to enroll. Please pay attention to the level of the class. You don’t want to try an advanced class when you are a first-timer. You wind up confused and the class won’t get the standard they are looking for.
Adult ballet can be an amazing life experience if you prepare yourself with a little knowledge. There is no need to feel insecure if you’re new to ballet, but check the class level definitions here.
Adult ballet class is where you learn the basics of ballet, including the five basic positions of feet with corresponding arm positions. The purpose of an adult ballet class is to offer instruction without the pressure of pursuing a professional performing career. Ballet class consists of three parts: barre, floor, and center.
The first part of ballet class is spent at the barre. The barre is a long wooden or metal bar fixed to the wall. If the class is large, the teacher may bring out free-standing barres to the middle of the room, so no one feels cramped. Since the body is not ready to perform elaborate movements across the floor, barre work is considered the warm-up portion of class and can last anywhere from 30-45 minutes. Students start by placing their left hand on the barre, since the first exercises are always carried out by the right side of the body, then the left. The teacher then provides a series of exercises designed to systematically warm up the muscles. Besides promoting circulation and stamina, the purpose of barre work is to practice technique that will be executed later in the class without the support of the barre.
The second part of ballet class is floor. Students leave the barre and gather at the middle of the room. From here, the class can go two ways: the teacher may instruct the class to sit down and begin a series of stretches, or they may directly move into technical combinations. These exercises can be a challenge since students no longer have the support of the barre. For example, students may be required to stand on one leg, and maintain their balance without falling over. Floor exercises are also divided into two categories: adagio, slow movements that require balance and control, and allegro, quick, precise movements that emphasize agility and speed. Students start with slow combinations that help build their strength, and progress to faster footwork.
The final section of ballet class is centre. Now, students have the opportunity to perform combinations across the floor and really dance! The teacher assembles steps that accelerate into what is called grand allegro. This combination may include skips, jumps, leaps, and turns. Most adults are reluctant to perform across the floor because they are afraid they will mess up or look silly. Don’t be shy! Everyone is in the same boat, and every student is as self-conscious as their peer. It’s important to always try, because it’s the best way to build confidence.
Many ballet terms are actually French terminology. You can learn more about the terms with pictures at www.ballethub.com.
|The first basic position requires the feet to be flat on the floor and turned out (pointing in opposite directions as a result of rotating the legs at the hips). Heels together, and toes going outwards.||The feet point in opposite directions, with heels spaced approximately twelve inches apart.||One foot is placed in front of the other so that the heel of the front foot is near the arch.||There are two types of fourth position: open and closed. In both cases, one foot is placed approximately twelve inches in front of the other. In open fourth position the heels are aligned, while in closed fourth position the heel of the front foot is aligned with the toe of the back foot. There are two variations of each type of fourth position, determined by which foot is in front.||Fifth position should form two parallel lines with your feet. The heel of the front foot should be in contact with the big toe of the other, and the heel of the back foot should be in contact with the last toe of the front foot. (Poorly demonstrated in the picture provided)|
Turn-out – The dancer turns his or her feet and legs out from the hip joints to a 90-degree position.
Plié (plee ay) – means bent, bending – of the knee or knees.
Tendu (ton dew) – stretched or held – brush foot along the floor until pointed, from a closed position to an open position
Frappé (frap ay) – to strike with the foot
Relèvé (rell eh vay) – to rise on tiptoe
Sauté (sew tay) – to jump
Port de bras (por deh bra) – carriage of the arms – arm movements
Pirouette (peer o wet) – a rotation or spin – a complete turn of the body on one foot, on point or demi-pointe (half- pointe).
Hilal Dance is wonderful for beginners and experienced dancers alike who have an interest in posture, yoga, breathing, getting fit and integrating body, mind and emotion as well as those interested in exploring their physical expression. Hilal Dance technique encompasses holistic, breath-based body training and a system of movement concepts which allow full exploration of a wide range of expression through music and rhythm.
Hilal Dance draws its inspiration from Eastern philosophies and aesthetics.
What to wear
A long bodied stretch top and full length stretch pants are ideal.
Bodywork: Hilal Dance training always begins with bodywork. It is designed to develop dynamic alignment and ease of movement. The yoga-like exercises connect the breath with movement in a way that unblocks tension and promotes a centered, holistic, grounded flow of energy. A regular stretching routine is followed by body preparation, readying the body for the dance through training exercises in the movement concepts of Hilal Dance.
Hilal Movement Concepts: There are four main movement concepts in Hilal Dance:
- The Pendulum
- The Scissor
- The use of balanced energies
- The Spiral
The pendulum and scissor are two different ways of moving the torso with the legs – they are used as specific ways of walking and turning, but can also be applied to all movement, and give the movements two distinctive modes or expression and line. These two concepts form the basis of the training. As the pendulum and scissor are based on observations of and exploration of natural body movement, the training creates dancers with a very natural, integrated flow of movement. Yin and Yang usually develop gradually as a dancer becomes confident in the dance and explores the deeper levels of expression. The spiral is the most advanced concept and holds the potential of all dynamic movement. Suspended in space and moving from a powerful centre, it is a continuous rotating circle originating from the base of the body, creating both the perpendicular line of the scissor and the curve of the pendulum opening up a multitude of lines and expressions. All turns (both scissor and pendulum) are essentially spirals in yin form.
Movements and steps in Hilal Dance
- Scissor and pendulum walks and turns
- Rhythmic scissor and pendulum
- Combat back steps & fluid back steps
- Hops, Bops (of many kinds eg: singles, doubles, continuous), Shivers
- Stomps and Drops of many kinds eg: (of many kinds eg: single, double, continuous)
- Fluids – eg: Kenya & pendulum fluid’s
- Breaks and spirals
This is a list of the basic movement families– it is not complete and there are many variations created through layering movements (eg: overlaying a shift or shiver on to a bop). The use of Yin Yang, Pendulum, Scissor, or bringing focus to various parts of the body such as hips or shoulders can add further detail and complexity. The names are labels for our convenience. The important thing when you are learning is to think in broad categories of movement and not about learning a “step”.
A general class has students with a range of experience and abilities. Go at your own pace and please treat your bodies with care – if any of the movements in the bodywork or training cause discomfort let your teacher know and take a rest.