A little attitude goes a long way

Jeanne Devereaux, Le Barron Studios, New York, 1927, Prima Ballerina of Vaudeville and Broadway, by Kathleen Menzie Lesko.

Attitude can express an entire story in a single movement - elegant, expressive, and full of possibility. And attitude is possibly one of the most complex concepts in ballet.

So what is attitude?

When a dancer stands on one leg while lifting the other leg (to the front, side or back), with the knee bent, that is attitude. Sounds so easy doesn’t it? That illusion thing again … ballet is full of it. Illusion, I mean.

Attitude can look effortless, but in reality it relies on a cornucopia (such a pretty word) of skills, all collaborating madly:

• Balance: The standing leg and foot work to keep the body stable.

• Strength: The supporting leg, hips and trunk help maintain the position.

• Coordination: The arms, legs, head and torso work together.

• Posture: The spine is long and the chest lifted without forcing the lower back.

• Musicality and expression: The dancer inhabits the shape rather than simply holding it.

  
  

For Silver Swans dancers, the goal is not to lift the leg as high as possible. It is to find a position that feels secure, comfortable and expressive. A small, beautifully controlled attitude can be every bit as lovely as a high one.

So who “invented” attitude?

Italian ballet master Carlo Blasis (1797–1878) is credited with codifying and teaching attitude. His artistic inspiration is said to have came from Italian Renaissance sculptor Giambologna’s (1529–1608) bronze sculpture, Flying Mercury. The messenger god (depicted below) is poised on one foot, the other leg bent and lifted behind him. He seems to defy gravity - now wouldn't that be lovely? 😊

Giambologna’s bronze sculpture, Flying Mercury (1578–1580), as depicted in The Code of Terpsichore.

While Giambologna’s sculpture is traditionally credited as the inspiration, it is difficult to establish one definitive inventor of a ballet position that developed over time. Ballet technique grows through the exchange of ideas between dancers, choreographers, teachers and artists. Which is what makes it so magical: we inherit the artistry of those who came before us, then - if we have the chutzpah- we make it our own.

Developing attitude in Silver Swans classes

Safety note: Practise near a stable barre or support, avoid forcing turnout or arching the lower back, and lift only as high as feels comfortable.

• Find your own version of balance. It’s not about never wobbling. (How boring would life be without a little wobble now and then?) It’s about responding and adjusting to the wobbles.

• Make room for progress, not perfection. Work with your own range of movement and celebrate the improvements that matter to you.

• Let your upper body express confidence. This is my favourite tip. Just. Feel. Gorgeous.

• Carry the feeling beyond the studio. As you leave class, take that same sense of gorgeousness into the rest of your day.

  
  

An attitude worth cultivating

When we practise attitude, we take a position developed centuries ago and reinterpret it through our own bodies.

Attitude illustrated in The Code of Terpsichore, Carlo Blasis’ book on ballet pedagogy published in 1830.

Perhaps the greatest gift of ballet as we age is not the position we achieve, but the attitude we cultivate along the way: patience with ourselves, appreciation for our bodies, courage to keep learning, and delight in the simple pleasure of moving.

Perhaps we cannot lift our leg as high as we once imagined. Perhaps our balance is different from what it was ten years ago. But we can still discover the satisfaction of a well-placed foot, the pleasure of moving to music and mastering a movement that once seemed unfamiliar.

So the next time you practice attitude, take a moment to notice how you feel … I hope it's beautiful.

xoxo

Lindy