Teaching the true art form of dance. Most people go in to the performing arts world knowing how competitive and brutal it can be. The goal behind Avalon dance is to also shed light on the fact that the art of dance can be very rewarding. It can be very rewarding not only physically but emotionally and spiritually as well. We do our best to teach our dancers not just the technique of dance but to be able to use the art form as an outlet.
With our society today there are so many body image issues and peer pressure, that our young students go through on a daily basis. We like to create a safe haven on the dance floor. Come to Avalon dance, do your homework, eat your dinner, take your dance classes and just exhale! Literally exhale.
In miss T's contemporary class , held every Wednesday night at 7:30 PM , she teaches with breath. She guides students and allows them to exhale through each motion they make across the dance floor. She teaches this in hopes to give them a foundation in dealing with stress as they age and develop through life. Avalon Dance is a holistic dance studio not a competitive dance studio. Our motto is, We teach how to dance, not how to compete.www_
Tuesday, September 2, 2014
Thursday, August 8, 2013
Eating for dancers, How you can help as a PARENT
As I go through the years of teaching dance I have come to realize that I am not only teaching the art of dance and the techniques I also have to educate these dancers on Nutrition. So often I am reminding the girls to snack on a healthy option between classes and rehearsal.
Body image is such an issue for our teens and preteens but our dancers have it worst. Not only are they concerned about their peers at school but they have to worry about co dancers and dance educators. They are asking themselves, Can an overweight dancer get a Job in the performing arts world? Can an underweight dancer? Will my lines look clean on stage if I have to many curves? This is when poor eating habits start to accrue. Forgetting Breakfast, eating a late diner , not eating enough during lunch.
I try to educate my dancers. Our body is our instrument just like a pianist has his piano. We to keep our instrument tuned, we do that by FEEDING it. Low carb and high protein is the best diet for a dancers, So many dancers do not realize how and when you eat is as important as what you eat. Going through long periods of time without fueling your body can result in increase in body fat percentage and it could effect your energy level. This can open more opportunities for injuries.
You know that saying : I Have no life , My daughter dances" This statement has some truth. Not only do yiu need to get your child to dance class, rehearsal, performances and competition on time but you need to make sure they are eating the right things at the right time. As a parent of a dancer here are a few things you can do to help your healthy dancer, Stay Healthy
1. pack fruit, cheese sticks or granola bars in your dancer's dance bag
2. have meals already set for the week
3. ask your dancer if they ate during rehearsal or what they ate all day
4. volunteer to bring snacks/ meals for the entire group during rehearsals
These are just a few simple steps you can take to make your dancer's eating habits healthy.
In good faith and DANCE,
T
Sunday, September 25, 2011
Saturday, March 12, 2011
Recital Thoughts!
We are getting closer to the actual recital date!! We have enough dads for
the annual Dad Dance Performance during the recital, all of our dancers are
getting their respective dances down, and the final touches of the rectial
lineup are proving this is going to be an unforgetable
show!
the annual Dad Dance Performance during the recital, all of our dancers are
getting their respective dances down, and the final touches of the rectial
lineup are proving this is going to be an unforgetable
show!
SPRING BREAK DANCE CAMP
Avalon Dance is currently enrolling for our FIRST EVER Spring Break Dance Camp!!
Days: March 28, 2011 until April 01, 2011.
Time: 9AM-6PM.
Tuition: $135 for the week, $150 for early drop-off (8AM).
Dance Styles: Ballet, Jazz, and Hip-Hop.
For More Information: 407.380.3444
Days: March 28, 2011 until April 01, 2011.
Time: 9AM-6PM.
Tuition: $135 for the week, $150 for early drop-off (8AM).
Dance Styles: Ballet, Jazz, and Hip-Hop.
For More Information: 407.380.3444
Wednesday, February 16, 2011
The Dancer’s Hip
Source: http://www.dancemagazine.com/issues/January-2011/On-Dance-Injuries-The-Dancers-Hip
By William G. Hamilton, MD
How’s your turnout? Wish you had more? Most dancers do, so let’s take a look at the dancer’s hip.
First the anatomy
As you probably know, the hip is a ball and socket joint. The ball is the uppermost part of the thighbone, or femur, and the socket is the acetabulum (Latin for vinegar dish). This arrangement allows motion in all planes:
Rotation: Internal, or toeing in, vs. external, or toeing out. Adduction: toward the midline, e.g., when crossing your legs in fifth position. Abduction: away from the midline, e.g., second position. Forward motion: flexion, as in tendu or battement to the front. When you sit, the hip is flexed. Backward motion is extension.
Can you improve your turnout?
Not much. The extent of this motion is limited by the alignment and architecture of the ball and socket joint itself. Still, the range of motion varies considerably from one person to another and from one hip to the other in the same individual.
The normal hip has roughly an equal amount of internal and external rotation. If you are born “pigeon-toed” you will have more turn-in than turnout. The opposite type of hip, “duck-footed,” is naturally turned out and perfect for ballet. How much your natural turnout can be improved by early training is controversial. The orthopedic literature suggests that turnout, or anteversion in medical parlance, is mostly determined by age 12. It can be slightly improved by early training and stretching, but not dramatically. The rotation you have at age 12–13 is pretty much what you are stuck with.
Turning out below the hip
The second component of turnout is the knee, or actually the tibia, or shinbone below the knee, which is normally rotated outward 10–15 degrees. This rotation has a fancy name. It is called external tibial torsion, and this also varies. Some dancers with good turnout in the hip can lose some of it below the knee, while others with mediocre rotation in the hip can gain it below.
The third component is the foot and ankle. But, as all well-trained dancers know, you should not get your turnout by twisting either your knee or your foot out and rolling in—the cardinal sin of ballet.
It is OK to “nudge” your hip to get all of the turnout that is present, but forcing it too hard can injure it. There is a cartilaginous rim that runs around the edge of the socket called the labrum (lip). When the rotation is pushed too far this lip can actually be torn loose from its attachment. The torn labrum can cause a lot of trouble and sometimes requires arthroscopic surgery to fix it. (More on this later.)
Special circumstances
Hypermobile dancers, whose joints are too loose, are especially prone to labral tears and damage to the joint. By forcing their turnout, they can actually slip the hip partly out of joint. That’s called subluxation. Hypermobility comes in various degrees from mild to severe— as in the Indian Rubber Man in the circus who can tie himself into knots, or contortionists. There is no cure for this, but hypermobile dancers need to become extra strong with physical therapy exercises to control their looseness. They also need to be very careful with their technique.
Acetabular dysplasia. Some dancers are born with a hip socket that is too shallow. They usually have a very good range of motion— sometimes too good. This type of hip is very prone to labral tears and early arthritis and should not be turned out at all. This condition can be picked up on a MRI study. Acetabular dysplasia is not common, but when it is present it is a relative contraindication to ballet or turning out because this can easily rotate the hip partly out of a socket that is already too shallow. These dancers should dance parallel to protect their hips.
Labral tears are characterized by sudden pains in the groin that often occur with certain motions like moving sideways, or developé à la second. There is a specific test for labial tears during the physical exam: With the patient lying down on her back (supine), the affected hip is flexed first straight up toward the chest with the knee bent. This is usually not painful. But when the knee is brought up in the same motion but more toward the midline (adducted) it will cause pain in the hip if a labral tear is present. That’s “the flexion-adduction sign.” It is not 100 percent accurate, but is highly suggestive and is usually an indication for getting a special MRI. Some labial tears are not very painful, so a physician will just keep an eye on it over time. If it gets worse, the dancer may need arthroscopic surgery to fix the problem.
Dancers who turn out may be prone to arthritis of the hip later in life, but this is not known for sure because the condition often occurs even in non-dancers. Symptomatic arthritis is the usual indication for a hip replacement.
Remember that with turnout, like many things in dance, it is important to know your limitations and to work within them. “Forcing the envelope” can lead to injuries. Merde!
William G. Hamilton, MD is an orthopedic surgeon in private practice in New York City. He is the orthopedic consultant for the New York City Ballet, American Ballet Theatre, the School of American Ballet, and the JKO School of Ballet at ABT. He specializes in foot and ankle injuries in dancers and athletes. He is past president of the American Orthopedic Foot and Ankle Society.
By William G. Hamilton, MD
How’s your turnout? Wish you had more? Most dancers do, so let’s take a look at the dancer’s hip.
First the anatomy
As you probably know, the hip is a ball and socket joint. The ball is the uppermost part of the thighbone, or femur, and the socket is the acetabulum (Latin for vinegar dish). This arrangement allows motion in all planes:
Rotation: Internal, or toeing in, vs. external, or toeing out. Adduction: toward the midline, e.g., when crossing your legs in fifth position. Abduction: away from the midline, e.g., second position. Forward motion: flexion, as in tendu or battement to the front. When you sit, the hip is flexed. Backward motion is extension.
Can you improve your turnout?
Not much. The extent of this motion is limited by the alignment and architecture of the ball and socket joint itself. Still, the range of motion varies considerably from one person to another and from one hip to the other in the same individual.
The normal hip has roughly an equal amount of internal and external rotation. If you are born “pigeon-toed” you will have more turn-in than turnout. The opposite type of hip, “duck-footed,” is naturally turned out and perfect for ballet. How much your natural turnout can be improved by early training is controversial. The orthopedic literature suggests that turnout, or anteversion in medical parlance, is mostly determined by age 12. It can be slightly improved by early training and stretching, but not dramatically. The rotation you have at age 12–13 is pretty much what you are stuck with.
Turning out below the hip
The second component of turnout is the knee, or actually the tibia, or shinbone below the knee, which is normally rotated outward 10–15 degrees. This rotation has a fancy name. It is called external tibial torsion, and this also varies. Some dancers with good turnout in the hip can lose some of it below the knee, while others with mediocre rotation in the hip can gain it below.
The third component is the foot and ankle. But, as all well-trained dancers know, you should not get your turnout by twisting either your knee or your foot out and rolling in—the cardinal sin of ballet.
It is OK to “nudge” your hip to get all of the turnout that is present, but forcing it too hard can injure it. There is a cartilaginous rim that runs around the edge of the socket called the labrum (lip). When the rotation is pushed too far this lip can actually be torn loose from its attachment. The torn labrum can cause a lot of trouble and sometimes requires arthroscopic surgery to fix it. (More on this later.)
Special circumstances
Hypermobile dancers, whose joints are too loose, are especially prone to labral tears and damage to the joint. By forcing their turnout, they can actually slip the hip partly out of joint. That’s called subluxation. Hypermobility comes in various degrees from mild to severe— as in the Indian Rubber Man in the circus who can tie himself into knots, or contortionists. There is no cure for this, but hypermobile dancers need to become extra strong with physical therapy exercises to control their looseness. They also need to be very careful with their technique.
Acetabular dysplasia. Some dancers are born with a hip socket that is too shallow. They usually have a very good range of motion— sometimes too good. This type of hip is very prone to labral tears and early arthritis and should not be turned out at all. This condition can be picked up on a MRI study. Acetabular dysplasia is not common, but when it is present it is a relative contraindication to ballet or turning out because this can easily rotate the hip partly out of a socket that is already too shallow. These dancers should dance parallel to protect their hips.
Labral tears are characterized by sudden pains in the groin that often occur with certain motions like moving sideways, or developé à la second. There is a specific test for labial tears during the physical exam: With the patient lying down on her back (supine), the affected hip is flexed first straight up toward the chest with the knee bent. This is usually not painful. But when the knee is brought up in the same motion but more toward the midline (adducted) it will cause pain in the hip if a labral tear is present. That’s “the flexion-adduction sign.” It is not 100 percent accurate, but is highly suggestive and is usually an indication for getting a special MRI. Some labial tears are not very painful, so a physician will just keep an eye on it over time. If it gets worse, the dancer may need arthroscopic surgery to fix the problem.
Dancers who turn out may be prone to arthritis of the hip later in life, but this is not known for sure because the condition often occurs even in non-dancers. Symptomatic arthritis is the usual indication for a hip replacement.
Remember that with turnout, like many things in dance, it is important to know your limitations and to work within them. “Forcing the envelope” can lead to injuries. Merde!
William G. Hamilton, MD is an orthopedic surgeon in private practice in New York City. He is the orthopedic consultant for the New York City Ballet, American Ballet Theatre, the School of American Ballet, and the JKO School of Ballet at ABT. He specializes in foot and ankle injuries in dancers and athletes. He is past president of the American Orthopedic Foot and Ankle Society.
Friday, February 4, 2011
Hip-Hop History
Hip-hop dance refers to dance styles primarily danced to hip-hop music or that have evolved as part of hip-hop culture. This includes a wide range of styles notably breaking, locking, and popping which were developed in the 1970s by Black and Latino Americans. What separates hip-hop dance from other forms of dance is that it is often freestyle (improvisational) in nature and hip-hop dancers frequently engage in battles—formal or informal freestyle dance competitions. Informal freestyle sessions and battles are usually performed in a cipher, "a circular dance space that forms naturally once the dancing begins."[1] These three elements—freestyling, battles, and ciphers—are key components of hip-hop dance.
More than 30 years old, hip-hop dance became widely known after the first professional breaking, locking, and popping crews formed in the 1970s. The most influential groups are the Rock Steady Crew, The Lockers, and the Electric Boogaloos who are responsible for the spread of breaking, locking, and popping respectively. Parallel with the evolution of hip-hop music, hip-hop dancing evolved from breaking and the funk styles into different forms: moves such as the "running man" and the "cabbage patch" hit the mainstream and became fad dances. The dance industry in particular responded with a studio based version of hip-hop—sometimes called new style— and jazz funk. These styles were developed by technically trained dancers who wanted to create choreography for hip-hop music from the hip-hop dances they saw being performed on the street. Because of this development, hip-hop dance is now practiced at both studios and outside spaces.
Internationally, hip-hop dance has had a particularly strong influence in France and South Korea. France is the birthplace of Tecktonik, a style of house dance from Paris that borrows heavily from popping and breaking. France is also the home of Juste Debout, an international hip-hop dance competition. South Korea is home to the international breaking competition R16 which is sponsored by the government and broadcast every year live on Korean television. The country consistently produces such skillful b-boys that the South Korean government has designated the Gamblerz and Rivers b-boy crews official ambassadors of Korean culture.[2]
To some, hip-hop dance may only be a form of entertainment or a hobby. To others it has become a lifestyle: a way to be active in physical fitness or competitive dance and a way to make a living by dancing professionally.
source: wikipedia
More than 30 years old, hip-hop dance became widely known after the first professional breaking, locking, and popping crews formed in the 1970s. The most influential groups are the Rock Steady Crew, The Lockers, and the Electric Boogaloos who are responsible for the spread of breaking, locking, and popping respectively. Parallel with the evolution of hip-hop music, hip-hop dancing evolved from breaking and the funk styles into different forms: moves such as the "running man" and the "cabbage patch" hit the mainstream and became fad dances. The dance industry in particular responded with a studio based version of hip-hop—sometimes called new style— and jazz funk. These styles were developed by technically trained dancers who wanted to create choreography for hip-hop music from the hip-hop dances they saw being performed on the street. Because of this development, hip-hop dance is now practiced at both studios and outside spaces.
Internationally, hip-hop dance has had a particularly strong influence in France and South Korea. France is the birthplace of Tecktonik, a style of house dance from Paris that borrows heavily from popping and breaking. France is also the home of Juste Debout, an international hip-hop dance competition. South Korea is home to the international breaking competition R16 which is sponsored by the government and broadcast every year live on Korean television. The country consistently produces such skillful b-boys that the South Korean government has designated the Gamblerz and Rivers b-boy crews official ambassadors of Korean culture.[2]
To some, hip-hop dance may only be a form of entertainment or a hobby. To others it has become a lifestyle: a way to be active in physical fitness or competitive dance and a way to make a living by dancing professionally.
source: wikipedia
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