Ballet: Spiritually, Ballerina's fell under two category's "Pagan" and "Christians". Strong lust obsession's, exotic wants of spirituality. Innocent/Hussy. Major economic and social changes in the 19th century brought ballet from nobility art to more of an entertainment level. "Eve" a descent from heaven. Also considered a work of Mosaic art. Emblem of wanton sexuality. Frolicking unrestrained, graceful, gentle, demure. Voluptuous arms high priced pleasures. Enticing! The most famous sister pair and stage performers of the 19th century were the "Elsslers". The faithful cavalier (Therese). And the romantic temptress (Fanny). Until well into the twentieth century, the female dancer who damned the mufti of a cavalier was a commonplace for European ballet. The ballerina exalted the feminine. She was placed onto a pedestal for all to worship. The great female. Ballerina's continued on and into the 20th century. Welcome to Just Dance Academy Tarpon Springs, Florida Just Dance Academy services the Tarpon Springs and Palm Harbor Areas and is owned an operated by Heather Walts along with her hand selected Dance Instructors. We pride ourselves on providing you or your children with the most comprehensive, yet fun and exciting dance classes and lessons. Just Dance Academy is unlike any other Professional Dance Studio with our full line training programs, Up-to-Date Dance facilities featuring an extra large Marley Dance Floor. At Just Dance Academy we enhance the strengths of our students to aid them on becoming the dancers they aspire to be, focusing on form, style and grace. Please feel welcome to learn about dance classes at our Tarpon Springs Dance Studio and select the Dance Classes that you want to have lessons in. Just Dance Academy Burlesque/Travesty Dancer: The 19th century did create the mystique of the ballerina and it belonged to the lady. In the early 1800's, expression, grace, advance techniques and Pointe work were the ballerina's trademark. But another historic phenomon accured. The donseuse (the male dancer) (a partner for the ballerina). Which in most stage performances. The female acted out the role of the male. Even acting out romantic parts. Dressing to play a male by wearing certain trousers. Certain clothing displayed the shape (legs, waist and hips). This was her way of projecting her sexuality. Cross-dressing on the stage (an area considered to be taboo), had quite different implications. Audiences viewed this as unmanly. Travesty problems occurred. Styles of masculine dancing projected with expression, became little by little "feminized". Ballet and Prostitution: Many ballerinas bore children out of wedlock. And only married out of protection. Paris viewed the dancers as pleasure. Only exceptions were famous authors of books. Poets and the Opera's good girls. Male dancers were used, more in character roles and as lifters. They appealed to other men of refined backgrounds. And had a very small following. London and Paris thought that the male dancer was distasteful. Their presence on stage wasn't appreciated. In time positive feedback started to flow from audiences. Plus with the support of the master Nijinsky and the Ballet Russes. Finally on stage, next to a ballerina. They held an important place. Korean Ballet: First introduced in the early 1900's. It held a strong position by the middle of the 20th century in the west. Many companies and ballet studios have been established, right up into the present. The Ewha Woman's University was very important in Korea. And helped in starting an independent dance department. The specified course offered a bachelor's and master's degree in either ballet, modern and Korean dance. Which all three complement each other. Spreading their wings and taking their Korean style over the United States. They are a very important element in festivals. As well as other dance productions. Germany: Ballet dominated both the East and West after World War II. Back in the late 1930's. The Ministry sponsored large-scale dance festivals in Berlin. And also established a central institute of dance. Promoting ballet as light entertainment. It helped make ballet more popular. Along with folkdance and "German Dance" a.k.a. Ausdruckstanz. Ausdruckstanz did much well in East Germany. Due to incorporating modern dance techniques with soviet methods for ballet training. Ausdruckstanz emphasizes on expressive abstraction. Using the costume as a mask, and a revival of the solo. In the 1960's dancers in West Germany became dissatisfied with the arthodoxies of ballet technique and the strict written in stone style of ballet companies. Blending together experimental theater and American modern techniques. Their form of ballet was called "Tanztheater" and different from operaballet. One dancer affilitalted with the Cologne Opera Ballet. Wasn't afraid to stir things up and arouse an audience by choreographing dance numbers as a means of addressing a political matter. A more free style came about by another choreographer. The style has continued. West Germany frowned on the free style and refused to support or encourage a style outside of the repertory system. Dance is the only art in West Germany, where the ladies get to play a leading role. Female issues and their perspectives are respected and acknowledged. African Ballet: Its presence has defining element, which separates American styles from European. African influence in ballet may appear in angular arms and lightly flexed wrists, rather then the traditional port de bras. Much more movement in the hips and also the upper torso. More aggressive and on top of the beat. Here is some footwork positions to enjoy on your own or in a class. There are five basic feet positions in ballet. First: Legs and feet together then turn feet outward heels touching. Second: Again in first position, slide right foot away from the left (There should be a foot length distance, feet still in a turn out status). Third: Place the right foot against the middle of the left foot, in a turn out position. And legs are together. Fourth: Similar to third position, only now there is a space between the feet. Fifth: Feet should be turned out, legs together. Only this the right foot is positioned in front of the left, right toe touching the left foots heel. Left foot (behind) toe touching the right foots heel. When finished, repeat now with other foot. Turnout: Standing with arms along ones side slightly curve. Feet start out straight/toes pointed forward. Then a rotation of the legs stemming from the hip sockets. Feet turnout to the sides (right foot points angular to the right and left foot points angular to the left) and back to straight. Demi Plie: Standing tall, arms up and out to the side. Feet are in second position. Toes pointing out to the sides (right and left). Keeping feet and heels down at all times. Bending the knees slightly and then straightening them back. Grand Plie: As mentioned above in Demi Plie. This time you bend your knees and come down lower. Releve: Standing tall, arms placed on each side, slightly curved and in front of the body. Feet with a slight turnout. In first position or second. Pressing the heels up to a demi pointe or full pointe. And then back down to a flat foot. Tendu: Standing tall, arm positions change accordingly. Feet start from first position (arms and hands are in front of the body, slightly curved) and then turned out to the side. Stretch the foot, legs are straight. The foot brushes along the floor. Followed by pointing the toe. This is done front, side and back. Whatever sides your working on (right or left). When foot is out to the side. The arms are up and out to the side. When foot is placed front. The arms are overhead, slightly curved. When placing the right foot back. The right arm is extended back. Left arm is out and in front of the body. Feet always come back to first position when finished. Arms and hand are placed in front of the body, slightly curved. Degage: As in Tendu mentioned above. Starting again in first position. Then Tendu. This time lift the right leg up off the floor to 45 degrees. First slowly, then repeat a little faster. And It is also done in third position. Passe: (Which means to pass) Starting in third position. Arms and hands placed in front of the body, slightly curved. Right toe slides up the standing leg until it reaches the knee area of the inner side of the standing leg (left leg), then closing right leg in the back of left leg. To bring right leg forward. Repeat by sliding toe up to touch the inner side of left leg (keeping knee of left leg back). Close right leg front in third position. Now, follow the same starting with the left side. Fondu: Sinking the body down. With the right leg. It is a demi plie on the standing leg. In third position, arms and hands in front of body slightly curved. Plie, take right toe inside of the inner ankle of left leg extend leg out front bending and then straightening, repeat to the side and then to the back. Finishing in the back. Arms are placed up and out to the side when extending leg. Repeat with the left leg. Grand Battement: Legs are parallel Arms and hands are in front of the body Brush and kick the leg. Bottom leg is straight. Arms and hands are positioned out to the side. Followed by rotating the legs in first position. Repeat by brushing and kicking the leg. Arms and hands are positioned up above the head. (With a slight curve) Changement: A jump that changes the feet in the air. Landing with one foot front. Starting in third position. Arms and hands placed in front of the body (slightly curved). Then demi plie jump and switch legs each time. Repeat faster. Pas de Basque: A character step in the ballet arena. Moving leg from side to side. Starting in third position. Arms and hands placed in front of the body (slightly curved). Take right leg bringing to the right pointing the toe. Left foot and toe pointing to the back. Repeat movement a little faster. Then switch and start with the left. Pique Arabesque: In first position. Arms and hands placed in front of the body (slightly curved) Plie Pique shifting the weight onto the front leg (right or left) and extending the back leg in arabesque (back leg lifted off the floor toe pointing). Whatever leg is extended in the back. The same arm will be extended straight back. Opposite arm will be straight out and up in front of the body. NYC Ballet: Legendary George Balachine (a choreographer from Russia) had a vision of an American ballet. Americans professionally trained. Mr. Balachine was lucky to have friends who believed in his vision. They supported him and also helped out financially. The School of American Ballet was established in 1930s. Which became the Metropolitan Opera (Located at Lincoln Center). Also the home to Balachine's American Ballet. The Ballet Society was beginning to build in 1946. Finally Balachine's dream became a reality. And the New York City Ballet was born only two years later. Obstacles and doubts came about. Mr. Balachine kept the faith and stayed focused. His journey was completed. New York Ballet is one of the largest ballet companies in the world. Each year there are twenty-three performances at The New York State Theater. Every summer the Company performs upstate at the New York Saratoga Performing Arts Center in Saratogo Springs. Ballet, like all dances, is subject to the influences and presence that are valued in its cultural context. Therefore, it can rightfully be called a form of ethnic dance. Influences from the past and present cultures are woven into, intermeshed with, and redistributed in any given moment of time. As one ballet legend once quoted. Dance is love, It is not work. The body is a voice. Stemming from the depths of ones soul. Expressing and imitating life passionately through mannerisms and movement. Today and in the present times. Whatever style of dance is ones favorite. Whether it is Funk, Hip-Hop, Flamenco, or Middle Eastern. Ballet is an important base. The mother tree, with several branches. Complementing ones style or ethnic background. People are still going to the Ballet and in awe of the ballerina. This creature manages to tantalize us. Even in just a pose.