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How to dress for ballet class? Today we will talk about appropriate attire for a ballet class….
In ballet, although it may seem obvious to specify, the basic training kit includes three basic elements: leotard, tights, and half-tips.
My leotard: Cotton or Lycra?
The dance leotard can differ in both pattern making and fabric making.
Opting for a particular pattern is mostly a matter of individual taste, except for requirements related to internal regulations of academies or specific teaching methods.
Whereas the choice of fabric making divides the opinions of those in the industry.
Cotton as a natural fiber is a hypoallergenic fabric that absorbs sweat excellently and is quite durable over time.
In contrast is cotton is a poorly elastic fabric that tends to shrink after a few washes.
Therefore, this fiber does not provide optimal fit and comfort.
Due to sweat impregnation, is prone to discoloration and bad odor and therefore does not allow for aesthetic consistency over time.
Lycra on the other hand, is a synthetic fabric endowed with great elasticity.
It tends not to fade when washed at low temperatures, and thus provides greater wearability and color consistency over time.
Because it has poor wicking properties, Lycra can promote irritation or allergic reactions to its components, especially for more sensitive skin.
To overcome this, some manufacturers coat the bodysuit internally with a layer of hypoallergenic fiber or breathable mesh.
This expedient achieves the result of defining the body line more and increasing the feeling of comfort due to the increased support and firmness provided by the double layer of fabric.
Therefore, it is generally preferable to purchase internally lined leotards regardless of whether they are made of lycra or stretch cotton
The full sole provides more support on the floor and being stiffer in its curvature forces the foot to exert more effort.
This type of sole is definitely better suited for first courses.
In fact, the students must learn to point the foot, as well as strengthen it.
At the same time they must feel more stability in contact with the floor. The split sole (also called a drop sole because of the shape) tends to adhere more closely to the foot
They also enhancing its line and facilitating movement through greater contact of the foot with the parquet floor.
Among other things, these features allow the teacher to better grasp movement.
Regarding the choice of realization fabric, it is always good to remember that:
Leather is more durable so it has the merit of being longer lasting and more suitable for any type of floor.
Due to its rigidity, leather is technically less performing as it limits the movement of the foot more and does not enhance the line of the foot.
Leather also has the defect of not being able to be washed so with perspiration it will tend over time to smell bad.
Although canvas is more delicate and therefore prone to deterioration, it is technically more suitable for encouraging and highlighting foot movement.
Canvas is also aesthetically pleasing (partly because it can be dyed) and is both hand and machine washable at low temperatures.
Tights
Tights for ballet are normally made of micro fiber and can vary in thickness (denier) and coloring.
For the studio, one tends to use 50-denier tights in white or pink.
These tights have the characteristic of being rather resistant to contact with the floor.
At the same time stretchy and not overly thick to promote movement.
Professionals will tend to use the more transparent 40-denier tights.
So how to dress for ballet class?
In fact, there is no “ideal attire” that is valid for everyone.
In fact, one must take into account a number of elements that condition the final choice:
The degree of experience of the dancer
The characteristics of the room
Belonging to an academy or a school that applies a specific method
The preferences of the teacher.
However, for the first courses it is advisable to use:
A Girl dance leotard for training made of lycra or cotton as long as it is lined inside with hypoallergenic fiber
Of a pair of 50 den micro fiber tights
Full-sole leather or canvas half toes.
For intermediate and advanced courses, where technical and aesthetic requirements begin to become preponderant:
Compared to ballet, modern dance is apparently subject to fewer rules regarding studio attire.
In fact, teachers generally tend to give more freedom of choice to their students. This approach leads many pupils to believe that for warm-up and standard training the optimal solution is to use t-shirts and sweatpants. Instead, we can say that there are also more technical solutions for this discipline that guarantee higher standards of training.
More comfortable or tighter fitting?
When choosing on how to dress for modern dance class, one can in fact choose between two solutions.
Opt for a more tight-fitting outfit that allows teachers to better technically correct the movement of the students. Or prefer a softer uniform that still has suitable technical requirements and at the same time has an aesthetic impact on the final movement.
Involves instead using a soft long-sleeved shirt with slightly loose-fitting shorts such as a runner or bermuda. In alternative you can wear tank top and shorts like coulotte or panties.
Using this second solution has the added advantage that the outfit can also be used for performances and competitions throughout the academic year.
What to wear on the feet?
For modern dance exercise depending on your needs, you can put on lifesavers, jazz shoes or sneakers. The foot savers fit and a choreography with softer movements related to neoclassical or contemporary dance. Jazz shoes are preferred for modern dance choreography or video dance. The shoessneakers low or high with a split sole are preferred for hip hop or break dance choreography.
Modern dance today has more and more contaminations of contemporary, modern-video, and hip hop dance.
Therefore, it is advisable for students in advanced courses to own all three models presented to better suit various choreographic needs.
Learning the techniques of how to warm up before dance class is essential for any aspiring dancer or ballet dancer. As anticipated in previous articles, assessing how to dress for dance class is clearly a preparatory step with respect to ‘training itself. However, before engaging in the study and execution of dance techniques, every good dancer (from beginner to professional) devotes a few minutes to warming up. Warm-up techniques normally follow standard figurations aimed at activating muscle groups and joints To prevent possible injury. There is an attempt to take more care of the parts of the body affected by the positions that will later be performed in the study phase. These techniques are basically similar for both ballet and modern dance. In fact, the exercises take place mainly on the floor for the first part and then with some stretching exercises at the barre.
Here are some examples of useful floor warm-up exercises to practice before class:
Warm up ankles, feet, hamstrings and lower leg muscles
Sit on the floor, legs stretched forward and torso erect with both arms along the body and hands touching the ground. Twirl clockwise first the right foot and then the left foot five times. Repeat the exercise by doing counterclockwise rotations on both feet. Repeat the sequence by spinning both feet clockwise and counterclockwise at the same time, five more times.
Warm up trunk, shoulder blades, arms and cervical area
Lying supine with legs outstretched and arms stretched out to the sides along the body: draw circles with the arms directing them upward to reach the head, then spread them out until they touch the floor and let them come back down along the sides as they crawl across the floor. Repeat the sequence three times clockwise and then three times counterclockwise. Next: spread the arms sideways making them crawl across the floor to reach the head, descend down the center of the body bringing the hands to pubic height and then return to the starting position along the hips.
Warm up the hips and stretch the back
After finishing the trunk and arm exercises, remaining supine lying on the floor, bend both legs bringing both knees toward the chest. With your arms, hug your legs at knee height and push them toward your chest, while your back will remain extended on the floor . Exhale while pushing the knees toward the chest will throw out the air . Repeat the sequence three times.
Even for the warm-up phase, it is possible to suggest the use of some technical clothing.
Wearing theese clothing will facilitate the dancer in achieving the intended result.
In fact, this phase is preparatory and essential to prevent small and large muscle injuries during training.
A proper warm-up also ensures proper muscle tone and flexibility during the exercises.
There are warm-up clothing solutions for the different body areas involved, which we indicate below.
How to dress for warm-up: Bust
First of all, over the dancewear t it is always useful to wear a wrap sweater made of wool or warm cotton.
The wrap sweater has both the function of warming the bust and containing the heat during warming.
The choice between wool or warm cotton fabric often depends on the weather conditions in which you warm up.
The use of wool in direct contact with the skin is not recommended in case of hypersensitivity to this specific fabric.
For functional needs it is important to use a wrap sweater that is as close as possible to the dance leotard we wear.
This solution is important also from an aesthetic point of view.
How to dress for warm-up: Legs and Feet
As for how to dress for leg warm-ups, it is essential to use so-called leg warmers over pantyhose.
Depending on your needs, leg warmers can be short or long and always as close as possible to the pantyhose or leggings.
The foot is kept warm by wearing soft booties called toe warmers until it is time for barre exercises or toe climbing.
Note that students often replace wrap sweater and legwarmers with comfortable full-body suits or dance unitards made of warm cotton.
CURIOSITY ….
In recent years dance clothing manufacturers replace the wool using fabrics such as warm cotton or fleece.
Theese fabrics provide the same standards of fit and thermoregulation but with less dermatological discomfort.
For every aspiring ballerina, choosing and wearing pointe shoes is the symbol of reaching a milestone. Pointe shoes should therefore be evaluated very carefully, taking into account a series of technical variables: In fact, you must consider not only the quality of the product but also its adaptability to the specific foot of the ballerina. We list below the most important characteristics:
1) Hardness of the sole
For the first periods, it’s better to prefer a soft sole that facilitates rising en pointe while still providing support once up. For dancers who have a very pronounced arch, it’s preferable to opt immediately for a stiffer sole. In this case, the foot will need more support from the shoe.
2) Plant width
The pointe shoe should have a more square platform that provides greater comfort for those who are not used to wearing this type of shoe. In fact, at the beginning, pointe shoes tend to hurt the toes of young ballerinas. The square platform also allows for more stability when rising en pointe because there is a wider surface on which the tip of the foot rests. To avoid the annoying pain in the toes, it’s good to wear a thin layer of fabric inside the pointe shoe called toe pads: The toe pads will serve to protect the foot from any friction during movement and consequently prevent the formation of blisters. There are two types of toe pads: A foam toe pad that is more economical and ideal for those who wear pointe shoes only for one or two hours a day. A more comfortable silicone toe pad that provides greater softness to the foot for those who must wear the shoes for several hours in a row.
3) Height of the template
The vamp is the part of the pointe shoe that covers the toes and can be wider or narrower depending on needs. For the first times rising en pointe, it’s preferable to opt for a medium vamp, that is, one that covers about one centimeter beyond the toes. The vamp serves to keep the foot steady and support it when rising en pointe to avoid what is technically called “going over.” This way, the risk of spraining during training is prevented. For those with very weak feet or feet tending to be flat, a lower vamp is recommended because by leaving the arch freer, it helps more in rising en pointe. Conversely, for stronger feet or those with a higher arch, you can opt right away for a higher vamp.
Together with an elastic to be sewn into the shoes, the ribbon will serve to keep the shoe firmly attached to the ankle. This way, movements are facilitated and greater stability is achieved to avoid sprains. Nylon ribbon is always preferable to satin ribbon both because it tends to slip less and because it is more neutral in color.
Fun facts about the toe shoe….
Is it always necessary to sew the toe shoe ribbon?
Sometimes professionals, depending on the ballet they are performing, may choose not to sew the ribbons but only the elastic. This choice is related both to an aesthetic factor and because depending on the choreography, they can remove the shoe more quickly. For beginners, not sewing the ribbons is very risky because there is a risk of spraining the feet, so it is always recommended to wear them. We suggest you read this article on how to prepare pointe shoes.
How to distinguish the right tip from the left tip?
Pointe shoes don’t indicate which is right and which is left, so to distinguish them we suggest a trick. When you buy pointe shoes, place them side by side and you’ll notice that at the level of the sole on the side of the shoe, the shape of the pointe appears more scooped out. The more scooped out part of the shoe always fits the inner part of the reference foot. Therefore, in the right foot shoe, the inside of the scoop will be on the left, and in the left foot shoe, the inside of the scoop will be on the right.
Purchasing pointe shoes for classical ballet is an exciting moment for every young dancer. A practical lesson that all dancers have had to learn with a touch of disappointment is that pointe shoes cannot be worn immediately. Preparing pointe shoes is indeed a ritual that is as fascinating as it is essential before they can be used in training or during performances.
Basic Preparation
First of all, we need to make sure that we have everything we need:
Sewing needle
Sewing thread white, ivory or powder color
2 Elastics 2.5 cm wide * 40 cm long
2 Ribbons of powder-colored Nylon
1 pair of sewing scissors
1 Pencil
– As a first step, it is necessary to place the two toes side by side and distinguish which is the right shoe and which is the left, following the suggestions given in our previous post.
– Once the tips are distinct take the needle and thread and prepare them for sewing.
– Fold the satin heel of the toes back toward the insole to form a triangle.
– The corners at the base of the triangle thus obtained represent where we will need to sew the elastic since that is the correct distance from the heel.
– Use a pencil to mark this point in the inner sides of each tip.
– Sew the elastic into the inner part of the shoe being careful to sew only the inner toe lining so that the stitches of the seam do not show on the outside and thus avoiding an ugly aesthetic effect.
– Take the nylon ribbon and place it next to the elastic in the direction of the toe of the shoe after which sew it onto the ribbon by making small stitches on the three outer sides of the ribbon.
After sewing one point repeat all the steps on the other point as well.
Interesting facts about tip preparation
To avoid slipping on the parquet floor, it can be helpful to use rosin on the soles and tips of pointe shoes. Rosin can also be used on the inside back of the shoe to prevent it from slipping off.
Irene Correnti Danza is pleased to present the Fini Dance Magazine, a magazine created by the director of the Fini Dance Festival Italy-New York. As a company, we have been collaborating for several years with the community created by Antonio Fini, sharing his belief that “dance is not just an art form but also a tool to connect souls, cultures, and visions”.
To download the full version click on the image below:
Training Diary is the logbook that, once opened, guides us through a pleasant journey of daily training sessions dedicated to classical and modern dance. A series of dance lessons at an intermediate and advanced level that you can download for free from our website and consult daily. Ten practical lessons that use the Vaganova method both in the structure of the exercises and in the definition of positions. The lessons include:
Exercises at the barre such as demi pliè, bartement tendu, bartement tendu jetè, rond de jambe par terre, bartement fondu, ron de jambe en l’air, adagio, frappè, petit bartement sour le coud de pied, grand bartement tendu jetè.
Exercises in the center and diagonals
Jumping exercises
For each exercise, the musical counts are also indicated to help you set each lesson to music.
To download the first three dance classes click on the image below:
You’ve waited so long, you’ve prepared for many months, and finally the moment has arrived: the long-awaited classical dance audition. Now, however, the question arises naturally: “What should I wear?” Let’s see how I can help you, starting with a fundamental element, which is the leotard:
a) If you feel really fit and comfortable, I recommend choosing a flesh-colored or otherwise light-colored leotard. This trick will help you visually attract attention and make your body lines stand out. Here are some examples of models on our site to which I refer:
Marta a long-sleeved leotard with a wide neckline at the back to highlight the back
Capri if you need a bodysuit with suspenders but with an eye-catching and unconventional pattern
Sophie if you love pink and are in a romantic mood
Odile as original as the Capri and also ideal for a possible variation of contemporary
If the regulations allow the skirt to be worn as well, it is always preferable to use one that matches the leotard possibly made of mesh if you prefer some transparency. Two particularly suitable models may be Tiss, at mid-thigh height, and Anya, at above-knee length and therefore suitable for slimmer physiques.
b) If, on the other hand, you prefer to use a dark-hued leotard then my advice is to try to catch the jury’s attention by choosing a particular pattern in shapes, fabrics and color combinations:
