I changed how I teach allegro. Here's why -->
Imagine a door…
I bet the one you’re picturing is unique to you. It might have a beautiful wooden grain, vibrant paint colour, or intricate doorknob. Maybe it’s the sliding door at the grocery store.
Teaching ballet is full of imaginary doorways. Every cue I give in class is interpreted by your unique brain and body.
Cue-ing: Using different instructions or ways of thinking to achieve a desired result.
The instruction to stand tall could help one dancer find length and ease in their movement, while guiding another to hyperextend and exhaust their back. Learning the cues that work like magic for most dancers requires education in teaching, not just dancing.
Around 2019 I realized that asking my students to think “heels down” was harming their petit allegro more than it helped. Yes, your heels should move downwards as you land, but this cue didn’t make it happen. Instead, it caused dancers to tense their ankles, land hard, and lose their ballón.
I phased out “heels down,” and talked about springiness instead. I gave relevés to coordinate takeoff and landing. The struggling sautés had liftoff.
Continuing my education confirmed that “heels down” is a mismatch for many students, and gave me tools to facilitate happy, healthy allegro. The dancers I coach now have a totally different relationship with jumping.
I’m telling you this for two reasons:
I want you to be kind to yourself when the going gets tough. Sometimes the cue you’ve been given is correct but doesn’t get the right result, or doesn’t match your learning style.
I see dancers go further when they’re open-minded about how to approach a step. New doors can open when you’re brave enough to set aside a familiar cue, and try a new one on for size.
I’m curious...hit reply and tell me what your imaginary door looks like!
To open minds and doorways to better dancing,
Natasha